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_______________________ 'Hums with particularity and vision' - Observer 'Never before has the painful, knotty journey to maturity been depicted with such gusto, and never has the venerable Bildungsroman received such riotously profane treatment' - New York Times _______________________ The acclaimed autobiographical debut novel by Oscar-winning screenwriter Bruce Robinson, the author of Withnail and I This is the story of a dysfunctional family. It is about a boy and his grandpa, life and death, sex and hate, dog's meat and cancer. It is also about pornography, enemas, Morse codes, puberty, secrets, God and loathing. It is also about love.
For over a hundred years, the mystery of Jack the Ripper has been a source of unparalleled fascination and horror, spawning an army of obsessive theorists and endless volumes purporting to finally reveal the identity of the brutal murderer who terrorized Victorian England. But what if there was never really any mystery at all? What if the Ripper was always hiding in plain sight, deliberately leaving a trail of clues to his identity for anyone who cared to look, while cynically mocking those who were supposedly attempting to bring him to justice? In They All Love Jack, the award-winning film director and screenwriter Bruce Robinson exposes the cover-up that enabled one of history's most notorious serial killers to remain at large. More than twelve years in the writing, this is no mere radical reinterpretation of the Jack the Ripper legend and an enthralling hunt for the killer. A literary high-wire act reminiscent of Tom Wolfe or Hunter S. Thompson, it is an expressionistic journey through the cesspools of late-Victorian society, a phantasmagoria of highly placed villains, hypocrites, and institutionalized corruption. Polemic forensic investigation and panoramic portrait of an age, underpinned by deep scholarship and delivered in Robinson's inimitably vivid and scabrous prose, They All Love Jack is an absolutely riveting and unique book, demolishing the theories of generations of self-appointed experts—the so-called Ripperologists—to make clear, at last, who really did it; and, more important, how he managed to get away with it for so long.
In his hard-talking, boisterous manner Bruce Robinson tells Alistair Owen the truth about his work and life. This book covers Bruce's entire career, including his acting, writing, directing and the many tussles he has had with Hollywood moguls.
“Never before has the painful, knotty journey to maturity been depicted with such gusto. . . . Riotously profane” (Patrick McGrath, The New York Times Book Review). Thomas Penman is enduring a very bad adolescence. Growing up in dark, dingy 1950s England, Thomas has problems. These include an unspeakable personal hygiene issue, an eccentric, ailing grandfather who speaks to him in Morse code, an unrequited passion for the lovely Gwen Hackett, and an incriminatingly large stash of pornography. To cap it all, his warring parents are having him followed by a private investigator. It’s hard to believe things could get much worse for him, but, in fact, they are about to . . . A New York Times Notable Book “An Oscar-winner for the screenplay to The Killing Fields, Robinson debuts in the novel with the hilarious and engaging story of a working-class British teen growing up in the 1950s . . . Love, youth, and satire delivered with the verve and allure of, say, Amis—the real one, that is, not the modernized Martin, but lordly and hilarious Kingsley.” —Kirkus Reviews (starred review) “A dysfunctional family in an English coastal town of the late 1950s achieves chaotic free-fall in this mordantly comic, rowdy first novel about an unloved, neglected boy’s furious search for identity . . . The author manages to fuse lyricism, teen angst and raunchy satire of adult hypocrisy into a funny, tender, fiercely beautiful exploration of the humiliations, traumas, sexual awkwardness, first loves and false steps of adolescence.” —Publishers Weekly
_____________________ From the Oscar-nominated screenplay writer of the British cult classic Withnail & I _____________________ The basis for the film A Fantastic Fear of Everything, this black comedy novella tells the story of a writer who has become gripped by paranoia as a result of researching serial killers, and who has a phobia of launderettes. A call from his literary agent, a possible plot on his life and a disastrous trip to the launderette ensue. This satirical, darkly comic journey into the mind of an eccentric psychotic etches at the heart of fear itself.
New York Times–bestselling author of The Psychopath Test Jon Ronson writes about the dark, uncanny sides of humanity with clarity and humor. Lost at Sea—now with new material—reveals how deep our collective craziness lies, even in the most mundane circumstances. Ronson investigates the strange things we’re willing to believe in, from robots programmed with our loved ones’ personalities to indigo children to the Insane Clown Posse’s juggalo fans. He looks at ordinary lives that take on extraordinary perspectives. Among them: a pop singer whose greatest passion is the coming alien invasion, assisted-suicide practitioners, and an Alaskan town’s Christmas-induced high school mass-murder plot. He explores all these tales with a sense of higher purpose and universality, yet they are stories not about the fringe of society. They are about all of us. Incisive and hilarious, poignant and maddening, revealing and disturbing—Ronson writes about our modern world, and reveals how deep our collective craziness lies, and the chaos stirring at the edge of our daily lives.
Following the bestselling publication of THE KENNETH WILLIAMS DIARIES, the devastating self-portrait of one of our most loved and complex performers is completed with this marvellous selection of his letters. This is a wonderful treasure trove of correspondence with all manner of people, including Alec Guinness, Maggie Smith, Joe Orton, Richard Burton and Elizabeth Taylor, and the Stokers' Mess of HMS Leverton. Kenneth Williams took letters very seriously, and he was always disgusted by a morning that failed to provide him with some material to pore over. Letters called forth the performer in Williams in a way that his diaries never did: many of them are virtual comic monologues, and in general they suggest more strongly than the diaries the likeable and constructive side of a man who remains, nevertheless, as outrageous and 'difficult' as ever.
WITH AN INTRODUCTION BY JOHNNY DEPP A screenplay based on the novel by Hunter S. Thompson It's 1960. In a highrise hotel not far from the beaches of San Juan, a man is recovering from an animal of a hangover. Paul Kemp is an alcoholic journalist who's barely seen better days, arriving at the only job he can get: writing horoscopes for failing rag The Daily Star. His fellow hacks are mostly crazy drunks on the verge of quitting, so Kemp fits in perfectly. But when he meets the impossibly gorgeous Chenault and her flashy boyfriend Sanderson, Kemp finds himself in way over his head - party to shady business deals, in hair-raising car chases with enraged Puerto Ricans, experimenting with a hitherto unknown hallucinogen - and finally discovers a mad, desperate devotion to the truth. Bruce Robinson brings Hunter S. Thompson's novel to the big screen with all the brilliance, wild humour and fierce energy associated with the acclaimed writer and director of Withnail & I and The Killing Fields.
A Lost Lady is a novel by American author Willa Cather, first published in 1923. It centers on Marian Forrester, her husband Captain Daniel Forrester, and their lives in the small western town of Sweet Water, along the Transcontinental Railroad. However, it is mostly told from the perspective of a young man named Niel Herbert, as he observes the decline of both Marian and the West itself, as it shifts from a place of pioneering spirit to one of corporate exploitation. Exploring themes of social class, money, and the march of progress, A Lost Lady was praised for its vivid use of symbolism and setting, and is considered to be a major influence on the works of F. Scott Fitzgerald. It has been adapted to film twice, with a film adaptation being released in 1924, followed by a looser adaptation in 1934, starring Barbara Stanwyck. A Lost Lady begins in the small railroad town of Sweet Water, on the undeveloped Western plains. The most prominent family in the town is the Forresters, and Marian Forrester is known for her hospitality and kindness. The railroad executives frequently stop by her house and enjoy the food and comfort she offers while there on business. A young boy, Niel Herbert, frequently plays on the Forrester estate with his friend. One day, an older boy named Ivy Peters arrives, and shoots a woodpecker out of a tree. He then blinds the bird and laughs as it flies around helplessly. Niel pities the bird and tries to climb the tree to put it out of its misery, but while climbing he slips, and breaks his arm in the fall, as well as knocking himself unconscious. Ivy takes him to the Forrester house where Marian looks after him. When Niel wakes up, he's amazed by the nice house and how sweet Marian smells. He doesn't't see her much after that, but several years later he and his uncle, Judge Pommeroy, are invited to the Forrester house for dinner. There he meets Ellinger, who he will later learn is Mrs. Forrester's lover, and Constance, a young girl his age.