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"A complete and detailed guide to crime on film: prison dramas, film noir, heist movies, juvenile delinquents, serial killers, bank robbers, and many other subgenres and motifs. The historical and social background to movie crime is covered by articles on the FBI, the Mafia, the Japanese yakuza, prohibition, boxing, union rackets, drugs, poisoning, prostitution, and many other topics."--Cover.
The devastatingly original debut novel from a winner of the Windham-Campbell Prize for Fiction. “Profoundly moving . . . I cannot remember when I last read something as touching as this.” —Amitav Ghosh, author of The Glass Palace First published by a small press in India, Jerry Pinto’s debut novel has already taken the literary world by storm. Suffused with compassion, humor, and hard-won wisdom, Em and the Big Hoom is a modern masterpiece, and its American publication is certain to be one of the major literary events of the season. Meet Imelda and Augustine, or—as our young narrator calls his unusual parents—Em and the Big Hoom. Most of the time, Em smokes endless beedis and sings her way through life. She is the sun around which everyone else orbits. But as enchanting and high-spirited as she can be, when Em’s bipolar disorder seizes her she becomes monstrous, sometimes with calamitous consequences for herself and others. This accomplished debut is graceful and urgent, with a one-of-a-kind voice that will stay with readers long after the last page.
This book depicts the author's military experiences during the Vietnam Era, first as an ROTC cadet at the University of Notre Dame and finally as an Army veteran teaching in Madison, Wisconsin, focusing upon Schwartz's experience at West Point, its cadets, officer corps and system of education.
At eighteen Robert Tagliaferro, an orphan of ambiguous racial and ethnic identity, disappears from his hometown of Utica, New York. At sixty he returns, forgotten by nearly everyone and searching the bin of memory for something to salvage. Having lived for decades inside a bookstore, his search for identity has taken him into the world of great literature and the history of Utica itself, and so his quest must be to create a memory, a history, and an identity from his reading. He becomes a man made of words, a patchwork of styles and rhetoric, an artifice. In the cellar of a restaurant, Robert tells his stories of the past to six other men: stories of Utica, of New York State, and ultimately of America itself, as well as of the intimate involvement of Italian immigrants with these histories. The other characters respond in a kind of collective storytelling, a play of voices probing the various themes of history, genealogy, fatherhood, race, lost children, the presentness of the past, community, and, finally, storytelling itself as the power guiding all, informing their sense of everything, as they grope imaginatively toward a sense of life and their place in it. Rich in literary heritage and allusion, The Music of the Inferno is an unusual, deft, often piercing meditation on storytelling, ethnicity, and the Italian American experience.
This History is intended for a broad audience seeking knowledge of how novels interact with and influence their cultural landscape. Its interdisciplinary approach will appeal to those interested in novels and film, graphic novels, novels and popular culture, transatlantic blackness, and the interfacing of race, class, gender, and aesthetics.
Life takes a strange turn when Richard Allan Gordon, thirty years old and as white as they come, discovers that, as a result of identity theft, five-year-old Jada Reece Gordon bears his name. The product of a middle-class Jewish upbringing, Richie finds himself completely in love and lust with Jada's mother, LaTisha, a twenty-five-year-old African American nursing student, and longs to be a father to her child.
The peace and quiet of Porcupine City, a tiny town in Michigan's Upper Peninsula, is destroyed by the discovery of a headless corpse, wrapped in plastic and accompanied by clues to another headless corpse.
By contrast, in the works of black writers from Oscar Micheaux to Toni Morrison, the black experience has been more fully, more accurately, and usually more sympathetically realized; and from the early days of film, select filmmakers have looked to that literature as the basis for their productions.".
Investigating a case of infidelity sounds simple—until it plunges Spenser and his beloved Susan into a politically charged murder plot that’s already left three people dead.