Now Laferriere returns to the arena of "How To Make Love To a Negro" in this searing, often hilarious look at the great Whore of America: Success. Is it possible to be a writer when women stop you on the street and make you justify the title of your first book? What happens to a serious young black writer when his media persona takes over? Sex, race, fame and class: Laferriere covers all the bases. At the same time, he explores black culture, never afraid to take on black icons-Spike Lee, Miles Davis, Magic Johnson, Toni Morrison - and stand them on their heads. Fiercely independent, piercing, insolent, and always well informed: no wonder he's been compared to James Baldwin and Charles Bukowski.

    The movie and its author instantly became a counterculture icon. The New York Times said the film “demands to be seen,” and Newsweek called it “An Extraordinary Movie!” But that was only the beginning of the story and the controversy of El Topo, and the journey of its brilliant creator. His spiritual quest began with the Japanese master Ejo Takata, the man who introduced him to the practice of meditation, Zen Buddhism, and the wisdom of the koans. Yet in this autobiographical account of his spiritual journey, Jodorowsky reveals that it was a small group of wisewomen, far removed from the world of Buddhism, who initiated him and taught him how to put the wisdom he had learned from his master into practice.At the direction of Takata, Jodorowsky became a student of the surrealist painter Leonora Carrington, thus beginning a journey in which vital spiritual lessons were transmitted to him by various women who were masters of their particular crafts. These women included Doña Magdalena, who taught him “initiatic” or spiritual massage; the powerful Mexican actress known as La Tigresa (the “tigress”); and Reyna D’Assia, daughter of the famed spiritual teacher G. I. Gurdjieff. Other important wisewomen on Jodorowsky’s spiritual path include María Sabina, the priestess of the sacred mushrooms; the healer Pachita; and the Chilean singer Violeta Parra. The teachings of these women enabled him to discard the emotional armor that was hindering his advancement on the path of spiritual awareness and enlightenment.

    Eliza Doolittle. Holly Golightly. But to her most adoring fan, Audrey Hepburn was best known for her role as “Mummy.” In this heartfelt tribute to his mother, Sean Hepburn Ferrer offers a rare and intimate glimpse into the life of one of Hollywood's brightest stars. Audrey Hepburn, An Elegant Spirit is a stunning compilation of nearly 300 photographs, many straight from the family album and never before published; archival documents, personal correspondence, and mementos; even paintings and illustrations from the actress herself. Sean tells Audrey Hepburn's remarkable story, from her childhood in war-torn Holland to the height of her fame to her autumn years far from the camera and the crush of the paparazzi. Sean introduces us to someone whose grace, charm, and beauty were matched only by her insecurity about her appearance and talent, and who used her hard-won recognition as a means to help children less fortunate than her own. With this unique biography, Sean celebrates his mother's history and humanity—and continues her charitable work by donating proceeds from this book to the Audrey Hepburn Children's Fund.

    In his distinct voice we hear Wilder's inside view on his collaborations with such stars as Barbara Stanwyck, Gary Cooper, Marilyn Monroe, Jack Lemmon, Tony Curtis, William Holden, Audrey Hepburn, and Greta Garbo (he was a writer at MGM during the making of Ninotchka. Here are Wilder's sharp and funny behind-the-scenes stories about the making of A Foreign Affair, Double Indemnity, Sunset Boulevard, Love in the Afternoon, Some Like It Hot, The Apartment, and Ace in the Hole, among many others. Wilder is ever mysterious, but Crowe gets him to speak candidly on Stanwyck: "She knew the script, everybody's lines, never a fault, never a mistake"; on Cary Grant: "I had Cary Grant in mind for four of my pictures . . . slipped through my net every time"; on the "Lubitsch Touch": "It was the elegant use of the super-joke." Wilder also remembers his early years in Vienna, working as a journalist in Berlin, rooming with Peter Lorre at the Chateau Marmont -- always with the same dry wit, tough-minded romanticism, and elegance that are the hallmarks of Wilder's films. This book is a classic of Hollywood history and lore.

    With incomparable glee, Miller shifts effortlessly from Virgil to venereal disease, from Rabelais to Roquefort. In this seductive technicolor swirl of Paris and New York, he captures like no one else the blending of people and the cities they inhabit.

    from the French "D'entre les Morts" by Geoffrey Sainsbury. First published as "The Living and the Dead" in Great Britain in 1956.

    Expanding on arguments made in his influential books The "Voice in Cinema" and "Sound in Cinema," Chion provides lapidary insight into the functions and aesthetics of sound in film and television. He considers the effects of such evolving technologies as widescreen, multitrack, and Dolby; the influences of sound on the perception of space and time; and the impact of such contemporary forms of audio-vision as music videos, video art, and commercial television. Chion concludes with an original and useful model for the audiovisual analysis of film.

    Having already established himself as an actor, he struck out as a filmmaker in 1959 with Shadows, and proceeded to build a formidable body of work, including such classics as Faces, Woman Under the Influence, The Killing of a Chinese Bookie, and Gloria. In Cassavettes on Cassavettes, Ray Carney presents the great director in his own words--frank, uncompromising, humane, and passionate about life and art.

    As he surveys the desolation of his former home in the wake of his ex-wife, he yearns for a life free of complications. But somehow a short break in the warm seductive air of Provence quickly turns into something more.

    She grows worried at first, then irritated - this is so typical of her unsentimental partner. Aksel ends the message: Let's hope for the best! Five months later, he is dead. In her debut novel, Let's Hope for the Best, Carolina Setterwall recounts the intensity of falling in love with her partner Aksel, and the shock of finding him dead in bed one morning. Carolina and Aksel meet at a party, and their passionate first encounter leads to months of courtship during which Carolina struggles to find her place. While Aksel prefers to take things slow, Carolina is eager to advance their relationship -moving in together, getting a cat, and finally having a child. Perhaps to impose some order on the chaos, Carolina devotedly chronicles the months after Aksel's passing like a ship's log. She unpacks with forensic intensity the small details of life before tragedy, eager to find some explanation for the bad hand she's been dealt. When new romance rushes in, Carolina finds herself assuming the reticent role Aksel once played. She's been given the gift of love again. But can she make it work? A striking feat of auto-fiction, written in direct address to Setterwall's late partner, LET'S HOPE FOR THE BEST is a stylistic tour-de force..

    She married a Frenchman, took on all his compatriots, and has been the heroine of a love affair ever since. Her skirmishes with French traffic, French maids, French salesladies, French holidays, French law, French doctors, above all, the French language, are here set forth in a delightful and amusing record. Paraphrasing Caesar, Miss de Havilland says, "I came, I saw, I was conquered."

    Frank's car was found at the bottom of a cliff, with him inside. Jack thinks that Frank's death is suspicious, so he decides to talk to a few people. Frank was a mild man and did as he was told, but Jack's not a bit like that.

     Cold and poverty define Hanna Renström’s childhood in remote northern Sweden, and in 1904, at nineteen, she boards a ship for Australia in hope of a better life.  But none of her hopes—or fears—prepares her for the life she will lead. After two brief marriages both leave her widowed, she finds herself the owner of a bordello in Portuguese East Africa, a world where colonialism and white colonists rule, where she is isolated within white society by her profession and her gender, and, among the bordello’s black prostitutes, by her color. As Hanna’s story unfurls over the next several years in this “treacherous paradise,” she wrestles with a devastating loneliness and with the racism she’s meant to unthinkingly adopt. And as her life becomes increasingly intertwined with the prostitutes’, she moves inexorably toward the moment when she will make a decision that defies all the expectations society has of her and, more important, those she has of herself. Gripping in its drama, evocative and searing in its portrait of colonial Africa, A Treacherous Paradise is, at its heart, a deeply moving story of a woman who manages to wrench wisdom, empathy, and grace from the most unforgiving circumstances.

    S.H. measures what she remembers against what she wrote that year and has since forgotten to create a dialogue between selves across decades.

    The Magic Mountain is a monumental work of erudition and irony, sexual tension and intellectual ferment, a book that pulses with life in the midst of death.