Frank Baum's The Wonderful Wizard of Oz. The production called for the casting of many dwarfs to play the Munchkins of the mythical Land of Oz and the studio began recruiting 'small persons' from all over the world. During production, rumours spread around Hollywood of wild Munchkin sex orgies, drunken behavior and general dwarf debauchery. More sinisterly, a Munchkin is said to have committed suicide by hanging himself on the set during filming - what appears to be a small human body is clearly visible hanging from a tree in the Tin Man scene. It is a claim that has passed into Hollywood legend. Set in a hotel room in Culver City, California, Babylon Heights is Irvine Welsh and Dean Cavanagh's scabrous and hilarious imagining of what could, very possibly, have led to that dwarf suicide. Babylon Heights premiered at the Exit Theatre, San Francisco, in June 2006.

    In each, Gorey's twenty-six-word stories (wherein the first word begins with A, the last with Z) weave a tale of suspense and intrigue; the story proceeds as the alphabet progresses. *Gorey's deft and witty use of language is apparent even in these twenty-six-word stories.*The book combines two of Gorey's Thoughtful Alphabets in one volume never before published in hardcover.*A must-have for all Goreyphiles

    I spent time looking for a book which would show me how a "raw" story was developed through drafts, with comments received and the changes made. Struggling to find such a work, I decided to create my own, being transparent and honest in the details. Using the story that gained me an offer of a place on a Master's in Creative Writing, SHORT STORY will take you through three drafts of the work.The book details not only the major revisions, feedback given by a professional novelist and an academic, but also has a bunch of tips from my writers toolbox condensed between the drafts. I hope that the process provides something useful for you, be it a tip from the writing toolbox, a look at the editing process, or motivation in knowing that you can do better than I did!

    This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    "Ladyfriend", a song written by Crosby, had just failed miserably as a chart single despite the fact that he lobbied hard to get it released. This - coupled with the fact that he made what the rest of the band considered an embarrassing political speech onstage during their set at the Monterey Pop Festival, and then sat in with rivals the Buffalo Springfield the following day - pushed McGuinn and Hillman in particular to the limits of their patience. Then, for the Notorious sessions, Crosby presented a song called "Triad", written about a threesome, and although McGuinn and Hillman reluctantly agreed to record it, they later decided to place a less controversial Goffin & King pop number called "Goin' Back" on the album instead. Crosby declared the song banal and refused to sing on it. A few too many studio flare-ups later, McGuinn and Hillman finally screeched up into the Hollywood Hills in their Jaguars and fired Crosby on the spot. Also brooding during this period was drummer Michael Clarke, who had always borne the brunt of the other band members' rage while recording. He was by far the least accomplished member of the band musically, and when they suggested bringing in a studio drummer to embellish some tracks (Jim Gordon, later of Derek & the Dominos fame), he finally declared he'd had enough and moved to Hawaii to get away from the music scene altogether. So, McGuinn and Hillman were left to cobble together an album with the help of producer Gary Usher (known for his work with Brian Wilson, the Millenium, Sagittarius and many others). The fact that it turned out to be one of the defining albums of the 60s psychedelic pop experience was either a sheer stroke of luck, or a testament to McGuinn and Hillman's determination to prove that they didn't need Crosby's help to construct their masterpiece.

    Hitless Wonder measures the price of obscurity. What happens when you chase a dream into middle age and, in doing so, risk losing the people you love?

    Inside the walls of Polo Ralph Lauren, though, he was long seen by some as a narcissist, an insecure ditherer, and, at times, a rampaging tyrant.Michael Gross, author of the bestsellers Model and 740 Park, lays bare the truths of this fashion emperor's rise, and reveals not only the secrets of his meteoric success in marketing our shared fantasies, but also a widely unknown side that's behind the designer’s chic façade.

    There they discover a truth that neither expected, but both must come to accept. Previously published by D.C. Comics.

    In spades.We ask that when you pore over this glorious work you spare some thought for the humble cartographers and surveyors who made journeys into the darker corners of our metropolis - no less dangerous than the wilds of Skund or Bhangbhangduc. To some the only memorial is the map you now possess. Others, in their quest for knowledge, paid the highest price that scholarship demands, which is to say, a day off in lieu.And so we dedicate this map and these accompanying words to the officers, councilors and members of the Merchants' Guild and to all who will find in its pages paths yet to tread and places yet to explore within the magnificentbwonder that is the city of Ankh-Morpork.

    We live in an angry world, and we are well acquainted with death." — The Invokers' TalesDanger and adventure await in these pages, lavishly illustrated with the award-winning art of Magic: The Gathering! Explore a tumultuous world fraught with perils and join the fight for survival as the fragments of civilization confront the unnatural Eldrazi. Follow in the footsteps of heroic Planeswalkers as they combine their unique talents, forming the Gatewatch to overcome the greatest threats the Multiverse has ever known. The secrets of Zendikar — its peoples, continents and creatures — are ready for you to discover!

    He worshipped Mark Spitz, swam his heart out, and just missed qualifying for the Olympic trials in swimming as a college senior. Although he didn't qualify for the 1976, 1980, 1984, 1988, 1992, 1996, 2000, or 2004 Olympics, he never stopped believing he could make it. And despite past failures and the passage of time, Carter began his quest once more at the age of forty-two. Maybe he's crazy. But then again, maybe he's onto something. He entered the Masters Championships. He swam three to four miles each day, six days a week. He pumped iron, trained with former Olympians, and consulted with swimming gurus and medical researchers who taught him that the body doesn't have to age. He swam with sharks (inadvertently) in the Virgin Islands, suffered hypothermia in a relay around Manhattan, and put on fifteen pounds of muscle. Amazingly, he discovered that his heartbeat could keep pace with the best of the younger swimmers'. And each day he felt stronger, swam faster, and became more convinced that he wasn't crazy. This outrageous, courageous chronicle is much more than Carter's race with time to make it to the Olympics. It's the exhilarating story of a man who rebels against middle age the only way he can—by chasing a dream. His article in Outside magazine, on which this book is based, was the winner of a Lowell Thomas award from the Society of American Travel Writers Foundation.

    Maas's expansive world in her breathtaking New York Times bestselling Throne of Glass saga. Celaena on the rooftops of Rifthold, Chaol in the gardens of the glass castle, Manon riding her wyvern through the Crossing, and many other favorite moments, characters, and objects from the vibrantly detailed realm of Throne of Glass come to life. With stunning original black-and-white drawings, The Throne of Glass Coloring Book is a must-have companion for any reader looking to be swept up in the adventure of a lifetime.Awards for the Throne of Glass SeriesQueen of ShadowsA Good Reads Choice Award winner for Best Young Adult Fantasy/Sci-Fi for 2015Heir of FireA USA Today bestsellerCrown of MidnightA New York Times and USA Today bestsellerThrone of GlassA Kirkus Best Teen Book of 2012; Amazon.com Best Book of 2012; YALSA Best Fiction for Young Adults; MTV Hollywood Crush Best YA Book of 2012 Nominee

    It'll have news (actual news, tied to the day it comes out) and sports and arts coverage, and comics (sixteen pages of glorious, full-color comics, from Chris Ware and Dan Clowes and Art Spiegelman and many others besides) and a magazine and a weekend guide, and will basically be an attempt to demonstrate all the great things print journalism can (still) do, with as much first-rate writing and reportage and design (and posters and games and on-location Antarctic travelogues) as we can get in there. Expect journalism from Andrew Sean Greer, fiction from George Saunders and Roddy Doyle, dispatches from Afghanistan, and much, much more. We're going to try to sell this thing on the street in San Francisco, but it'll also go out to our subscribers and be in bookstores all over.

    Friedman photos and a new C.R. Stecyk III postscript.In the early 1970s, the sport of skateboarding had so waned from its popularity in the 1960s that it was virtually nonexistent. In the DogTown area of west Los Angeles, a group of young surfers known as the Zephyr Team (Z-Boys) was experimenting with new and radical moves and styles in the water, which they translated to the street. When competition skateboarding returned in 1975, the Z-Boys turned the skating world on its head. DogTown: The Legend of the Z-Boys is a truly fascinating case study of how an underground sport ascended in the world. These are the stories and images of a time that not only inspired a generation but changed the face of the sport forever.This volume has been described as “the DogTown textbook” and an indispensable companion piece to the Sony Pictures Classics film Dogtown and Z-Boys. Now spanning 1975–1985 and beyond, the first section of the book includes the best of the DogTown articles written and photographed by C.R. Stecyk III as they originally appeared in SkateBoarder Magazine. The second half compiles hundreds of skate images from the archives of Glen E. Friedman—many of which appear in the movie. (Stecyk and Friedman acted as executive producers and advisors for the film.)The bigger, newly designed edition of the book includes many never-before-seen Friedman photos, along with a new postscript by Stecyk.

    The songs on Donuts are not hip hop music as "hip hop music" is typically defined; they careen and crash into each other, in one moment noisy and abrasive, gorgeous and heartbreaking the next. The samples and melodies tell the story of a man coming to terms with his declining health, a final love letter to the family and friends he was leaving behind. As a prolific producer with a voracious appetite for the history and mechanics of the music he loved, J Dilla knew the records that went into constructing Donuts inside and out. He could have taken them all and made a much different, more accessible album. If the widely accepted view is that his final work is a record about dying, the question becomes why did he make this record about dying?Drawing from philosophy, critical theory and musicology, as well as Dilla's own musical catalogue, Jordan Ferguson shows that the contradictory, irascible and confrontational music found on Donuts is as much a result of an artist's declining health as it is an example of what scholars call "late style," placing the album in a musical tradition that stretches back centuries.