As a rule, a good novel does not always make a good play - especially a novel as unconventional as this one by Dylan Thomas. But Andrew Sinclair's brilliant adaptation of Adventures in the Skin Trade is the exception. This is the story of young Samuel Bennet - a not entirely innocent provincial - who leaves his Welsh home to let adventure find him in London. Sam is soon deeply involved - all the while with his finger stuck fast in an ale bottle - with a fantastic assortment of odd characters whom only Dylan Thomas could have conceived. What The Times Literary Supplement said about Adventures in the Skin Trade as a novel still applies to the play: There is no doubt of Thomas's genius as a comic writer ... there are memorable images and phrases on every page." One reason is Andrew Sinclair's exceptionally skillful adaptation. "
Challenging the increasingly popular argument that blacks should settle down, stop whining, and get jobs, Skin Trade insists that racism remains America's premier national story and its grossest national product. From Aunt Jemima Pancakes to ethnic Barbie dolls, Ann duCille explains, corporate America peddles racial and gender stereotypes.
Thomas's unfinished novel of a Welsh boy's adventures in London is accompanied by twenty short stories
When a vampire serial killer sends Anita Blake a grisly souvenir from Las Vegas, she has to warn Sin City's authorities what they're dealing with. Only it's worse than she thinks, in the latest work in the bestselling Vampire Hunter series.
Artie Cohen's long-time girlfriend Lily Hanes, has been found beaten up, raped and left for dead in an empty Parisian apartment. In the wintry French capital, where drugs are sold like fries at Macdonalds and the hookers are trucked in with the vegetables, Artie goes after Lily's attackers and finds himself drawn in to a web of sex, death and deceit, struggling with the all-too personal implications of the case as Lily lies in a coma. A brilliantly concieved plot moves Artie from Paris through Europe to Vienna and then, finally, back to his native New York on a roller-coaster ride where there is no return ticket.
Shows how transnational corporations use lobby groups to shape EU policy. New updated edition
When a sting of bizarre killings stikes her small city, private investigator Randi Wade becomes suspicious. Still haunted by her father's death at the claws and teeth of a strange beast almost twenty years before, the serial killer's grisly murders remind her of that still-unsolved muder. As the police hit a dead end, Randi starts looking for answers of her own. But when a close friend suddenly becomes a target, he is forced to reveal a startling secet about himself, and Randi is quickly pulled into a dark underworld where monsters are all too real...and prey on the living.
A Hollywood humor writer takes on topics ranging from the Muppets to Star Wars in a collection of essays, stories, and comedy gags.
When the actor Ted Danson appeared in blackface at a 1993 Friars Club roast, he ignited a firestorm of protest that landed him on the front pages of the newspapers, rebuked by everyone from talk show host Montel Williams to New York City's then mayor, David Dinkins. Danson's use of blackface was shocking, but was the furious pitch of the response a triumphant indication of how far society has progressed since the days when blackface performers were the toast of vaudeville, or was it also an uncomfortable reminder of how deep the chasm still is separating black and white America? In Racechanges: White Skin, Black Face in American Culture, Susan Gubar, who fundamentally changed the way we think about women's literature as co-author of the acclaimed The Madwoman in the Attic, turns her attention to the incendiary issue of race. Through a far-reaching exploration of the long overlooked legacy of minstrelsy--cross-racial impersonations or "racechanges"--throughout modern American film, fiction, poetry, painting, photography, and journalism, she documents the indebtedness of "mainstream" artists to African-American culture, and explores the deeply conflicted psychology of white guilt. The fascinating "racechanges" Gubar discusses include whites posing as blacks and blacks "passing" for white; blackface on white actors in The Jazz Singer, Birth of a Nation, and other movies, as well as on the faces of black stage entertainers; African-American deployment of racechange imagery during the Harlem Renaissance, including the poetry of Anne Spencer, the black-and-white prints of Richard Bruce Nugent, and the early work of Zora Neale Hurston; white poets and novelists from Vachel Lindsay and Gertrude Stein to John Berryman and William Faulkner writing as if they were black; white artists and writers fascinated by hypersexualized stereotypes of black men; and nightmares and visions of the racechanged baby. Gubar shows that unlike African-Americans, who often are forced to adopt white masks to gain their rights, white people have chosen racial masquerades, which range from mockery and mimicry to an evolving emphasis on inter-racial mutuality and mutability. Drawing on a stunning array of illustrations, including paintings, film stills, computer graphics, and even magazine morphings, Racechanges sheds new light on the persistent pervasiveness of racism and exciting aesthetic possibilities for lessening the distance between blacks and whites.
For over forty years, John Hawkes has created fictions remarkable for their stylistic beauty and narrative experimentation. Rita Ferrari's Innocence, Power, and the Novels of John Hawkes is an unprecedented exploration of Hawkes's sixteen novels and novellas.
A Western tall tale and a psychological thriller of stunning insight and depth, this is Hawkes' most ambitious work ever.
From the moment survivors of Captain Cook's third voyage of discovery found that sea otter skins procured from Northwest Coast Indians would bring $100 apiece on the Chinese market, the future of the coast, the Indians, and the sea otters was irrevocably altered. Tom Clark's serial poetic history of the maritime fur trade documents and elaborates that change, linking white world fur traders with indigenes in extended metaphors of contact and confrontation. Distilling fact from decisive instance to yield an elegiac narrative of the original encounter, the poems develop implications that bring the story into current perspectives--engaging ethnology, ecology, geography, native cultural and mythic history versus the white European world.
In The Big Muddy, the first long-term environmental history of the Mississippi, Christopher Morris offers a brilliant tour across five centuries as he illuminates the interaction between people and the landscape, from early hunter-gatherer bands to present-day industrial and post-industrial society. Morris shows that when Hernando de Soto arrived at the lower Mississippi Valley, he found an incredibly vast wetland, forty thousand square miles of some of the richest, wettest land in North America, deposited there by the big muddy river that ran through it. But since then much has changed, for the river and for the surrounding valley. Indeed, by the 1890s, the valley was rapidly drying. Morris shows how centuries of increasingly intensified human meddling--including deforestation, swamp drainage, and levee construction--led to drought, disease, and severe flooding. He outlines the damage done by the introduction of foreign species, such as the Argentine nutria, which escaped into the wild and are now busy eating up Louisiana's wetlands. And he critiques the most monumental change in the lower Mississippi Valley--the reconstruction of the river itself, largely under the direction of the Army Corps of Engineers. Valley residents have been paying the price for these human interventions, most visibly with the disaster that followed Hurricane Katrina. Morris also describes how valley residents have been struggling to reinvigorate the valley environment in recent years--such as with the burgeoning catfish and crawfish industries--so that they may once again live off its natural abundance. Morris concludes that the problem with Katrina is the problem with the Amazon Rainforest, drought and famine in Africa, and fires and mudslides in California--it is the end result of the ill-considered bending of natural environments to human purposes.
Gorge R.R. Martin, brings his World Fantasy Award-winning short story to graphic novels in Skin Trade! Randi Wade is a survivor. She followed in the footsteps of her father, became a cop, and now is working the P.I. trade. But her past still haunts her. And the vicious animal attacks that took her father's life have sprung up anew, claiming victims once again in this sleepy town. Martin's unique creative voice spins a modern-day classic horror tale of murder, werewolves, and bladed demons. Illustrated by long time horror comics creator Mike Wolfer and adapted for comics by Martin's Hugo Award-nominated collaborator Daniel Abraham.