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The definitive biography of the visionary publisher of Famous Monsters of Filmland, the magazine that inspired filmmakers Steven Spielberg, George Lucas, Joe Dante, and many more. This heavily illustrated biography features eye-opening ― often outrageous ―anecdotes about Warren, a larger-than-life figure whose ability as a publisher, promoter, and provocateur make him a fascinating figure. In addition to Forrest J. Ackerman’s Famous Monsters of Filmland, he published Help!, a magazine created by MAD’s Harvey Kurtzman, which featured early work by John Cleese, Gloria Steinem, Terry Gilliam, Robert Crumb, and Diane Arbus; Creepy and Eerie magazines, with covers by painter Frank Frazetta and comics art by Steve Ditko, Wallace Wood, Bernie Wrightson, Al Williamson, and many others. His most famous co-creation, the character Vampirella, debuted in her own magazine in 1969, and continues to be published today.
"The delicate arc of these poems intimates—rather than tells—a love story: celebration, fear of loss, storm, abandonment, an opening forth. Richie Hofmann disciplines his natural elegance into the sterner recognitions that matter: 'I am a little white omnivore,' the speaker of Second Empire discovers. Mastering directness and indirection, Hofmann's poems break through their own beauty."—Rosanna Warren This debut's spare, delicate poems explore ways we experience the afterlife of beauty while ornately examining lust, loss, and identity. Drawing upon traditions of amorous sonnets, these love-elegies desire an artistic and sexual connection to others—other times, other places—in order to understand aesthetic pleasures the speaker craves. Distant and formal, the poems feel both ancient and contemporary. Antique Book The sky was crazed with swallows. We walked in the frozen grass of your new city, I was gauzed with sleep. Trees shook down their gaudy nests. The ceramic pots were caparisoned with snow. I was jealous of the river, how the light broke it, of the skein of windows where we saw ourselves. Where we walked, the ice cracked like an antique book, opening and closing. The leaves beneath it were the marbled pages. Richie Hofmann is the winner of a Ruth Lilly Fellowship from the Poetry Foundation, and his poems have appeared or are forthcoming in the New Yorker, Poetry, the Kenyon Review, and Ploughshares. A graduate of the Johns Hopkins University MFA program, he is currently a Creative Writing Fellow in Poetry at Emory University.
In 1954, the comic book industry instituted the Comics Code, a set of self-regulatory guidelines imposed to placate public concern over gory and horrific comic book content, effectively banning genuine horror comics. Because the Code applied only to color comics, many artists and writers turned to black and white to circumvent the Code's narrow confines. With the 1964 Creepy #1 from Warren Publishing, black-and-white horror comics experienced a revival continuing into the early 21st century, an important step in the maturation of the horror genre within the comics field as a whole. This generously illustrated work offers a comprehensive history and retrospective of the black-and-white horror comics that flourished on the newsstands from 1964 to 2004. With a catalog of original magazines, complete credits and insightful analysis, it highlights an important but overlooked period in the history of comics.
Highlighting the artist who changed movie monster art, this in-depth exploration of Gogos's work includes a long interview with the artist and more than 180 illustrations from his long career as an artist and illustrator. Original.
The Legendary Intellectual and Raconteur Talks to Hal Foster, Walt Kelly, Harvey Kurtzman, Howard Chaykin, Robert Crumb, and Other Artists.
This biography reveals the true story of Mad creator Harvey Kurtzman―the man who revolutionized humor in America; it features new interviews with his colleagues Hugh Hefner, Robert Crumb, and others. Harvey Kurtzman created Mad, and Mad revolutionized humor in America. Kurtzman was the original editor, artist, and sole writer of Mad, one of the greatest publishing successes of the 20th century. But how did Kurtzman invent Mad, and why did he leave it shortly after it burst, nova-like, onto the American scene? For this heavily researched biography, Bill Schelly conducted new interviews with Kurtzman’s colleagues, friends and family, including Hugh Hefner, R. Crumb, Jack Davis, and many others, and examined Kurtzman’s personal archives. The result is the true story of one the 20th century’s greatest humorists: Kurtzman's family life, the details of the FBI's investigation during the McCarthy Era, his legal battles with William M. Gaines (publisher of Mad), are all revealed for the first time. Rich with anecdotes, this book traces Kurtzman’s life from his Brooklyn beginnings to his post-Mad years, when his ceaseless creativity produced more innovations: new magazines, a graphic novel, and Little Annie Fanny inPlayboy.
Perkins, a former chief economist at a Boston strategic-consulting firm, confesses he was an "economic hit man" for 10 years, helping U.S. intelligence agencies and multinationals cajole and blackmail foreign leaders into serving U.S. foreign policy and awarding lucrative contracts to American business.
Religion's great and powerful mystery fascinates us, but it also terrifies. So too the monsters that haunt the stories of the Judeo-Christian mythos and earlier traditions: Leviathan, Behemoth, dragons, and other beasts. In this unusual and provocative book, Timothy K. Beal writes about the monsters that lurk in our religious texts, and about how monsters and religion are deeply entwined. Horror and faith are inextricable. Ans as monsters are part of religious texts and traditions, so religion lurks in the modern horror genre, from its birth in Dante's Inferno to the contemporary spookiness of H.P. Lovecraft and the Hellraiser films. Religion and Its Monsters is essential reading for students of religion and popular culture, as well as any readers with an interest in horror.
“I loved every page of this book. Clemens has constructed a world of magic that’s never been seen before, with a cast of beings who are so engaging and entrancing that you never want the story to end.”—John Saul On a fateful night five centuries ago, three mages made a desperate last stand, sacrificing everything to preserve the only hope of goodness in the beautiful, doomed land of Alasea. Now, on the anniversary of that ominous night, a girl-child ripens into the heritage of lost power. But before she can even comprehend her terrible new gift, the Dark Lord dispatches his winged monsters to capture her and bring him the embryonic magic she embodies. Fleeing the minions of darkness, Elena is swept toward certain doom—and into the company of unexpected allies. There she forms a band of the hunted and the cursed, the outcasts and the outlaws, to battle the unstoppable forces of evil and rescue a once-glorious empire . . . Praise for Wit’ch Fire “Wit’ch Fire grabs at your heart and tears a little hole, then tears another, and another—a brutal and beautiful ride. I can’t put the book down!”—R. A. Salvatore “Full of violence, magical pyrotechnics, and black-heared villains.”—Publishers Weekly
The author discusses how the lives of Theodore Roosevelt, Alfed T. Mahan, Henry Cabot Lodge, John Hay, and Elihu Root intersected with the growth of the American imperialism that eventually made the United States a world power.