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Richard Plume is a U.S. Marine whose combat injuries ultimately cost him a leg and much faith in his government and society. Carefully structured to emphasize the immediacy of problems faced by its players, the novel relegates combat scenes to flashbacks and centers instead on the struggles Richard faces as he tries to carve out a humble but honest existence in postwar Washington, D.C., for his wife, Esme, and son, Dickie.
This work is a detailed study of how Americans in the 1920s and 1930s interpreted and remembered the First World War. Steven Trout asserts that from the beginning American memory of the war was fractured and unsettled, more a matter of competing sets of collective memories—each set with its own spokespeople— than a unified body of myth. The members of the American Legion remembered the war as a time of assimilation and national harmony. However, African Americans and radicalized whites recalled a very different war. And so did many of the nation’s writers, filmmakers, and painters. Trout studies a wide range of cultural products for their implications concerning the legacy of the war: John Dos Passos’s novels Three Soldiers and 1919, Willa Cather’s One of Ours, William March’s Company K, and Laurence Stallings’s Plumes; paintings by Harvey Dunn, Horace Pippin, and John Steuart Curry; portrayals of the war in The American Legion Weekly and The American Legion Monthly; war memorials and public monuments like the Tomb of the Unknown Soldier; and commemorative products such as the twelve-inch tall Spirit of the American Doughboy statue. Trout argues that American memory of World War I was not only confused and contradictory during the ‘20s and ‘30s, but confused and contradictory in ways that accommodated affirmative interpretations of modern warfare and military service. Somewhat in the face of conventional wisdom, Trout shows that World War I did not destroy the glamour of war for all, or even most, Americans and enhanced it for many.
In The Problem Body, editors Sally Chivers and Nicole Markotic bring together the work of eleven of the best disability scholars from the U.S., the U.K., Canada, and South Korea to explore a new approach to the study of film by concentrating on cinematic representations of what they term "the problem body." The book is a much-needed exploration of the projection of disability on film combined with a much-needed rethinking of hierarchies of difference. The editors turned to the existing corpus of disability theory with its impressive insights about the social and cultural mediation of disabled bodies. They then sought, from scholars at every stage of their careers, new ideas about how disabled bodies coexist with a range of other bodies (gendered, queered, racialized, classed, etc.). To call into question why certain bodies invite the label "problem" more frequently than other bodies, the contributors draw on scholarship from feminist, race, queer, cultural studies, disability, and film studies arenas. In Chivers and Markotic's introduction, they draw on disability theory and a range of cinematic examples to explain the term "problem body" in relation to its projection. In explorations of film noir, illness narratives, classical Hollywood film, and French film, the essays reveal the "problem body" as a multiplication of lived circumstances constructed both physically and socially.
"That is the thing about New York," wrote Dorothy Parker in 1928. "It is always a little more than you had hoped for. Each day, there, is so definitely a new day." Now you can journey back there, in time, to a grand city teeming with hidden bars, luxurious movie palaces, and dazzling skyscrapers. In these places, Dorothy Parker and her cohorts in the Vicious Circle at the infamous Algonquin Round Table sharpened their wit, polished their writing, and captured the energy and elegance of the time. Robert Benchley, Parker’s best friend, became the first managing editor of Vanity Fair before Irving Berlin spotted him onstage in a Vicious Circle revue and helped launch his acting career. Edna Ferber, an occasional member of the group, wrote the Pulitzer-winning bestseller So Big as well as Show Boat and Cimarron. Jane Grant pressed her first husband, Harold Ross, into starting The New Yorker. Neysa McMein, reputedly “rode elephants in circus parades and dashed from her studio to follow passing fire engines.” Dorothy Parker wrote for Vanity Fair and Vogue before ascending the throne as queen of the Round Table, earning everlasting fame (but rather less fortune) for her award-winning short stories and unforgettable poems. Alexander Woollcott, the centerpiece of the group, worked as drama critic for the Times and the World, wrote profiles of his friends for The New Yorker, and lives on today as Sheridan Whiteside in The Man Who Came to Dinner. Explore their favorite salons and saloons, their homes and offices (most still standing), while learning about their colorful careers and private lives. Packed with archival photos, drawings, and other images--including never-before-published material--this illustrated historical guide includes current information on all locations. Use it to retrace the footsteps of the Algonquin Round Table, and you’ll discover that the golden age of Gotham still surrounds us.
THE STORY: As told by Judith Crist in the New York Herald-Tribune; THE GOLDEN SIX is a colorful and cynical account of the four Caesars who ruled from 27 B.C. to 54 A.D., stopping short of Nero...The 'golden six' are the grandsons and step-grandsons
Looking at texts written throughout the careers of Edith Wharton, Ellen La Motte, Mary Borden, Thomas Boyd, F. Scott Fitzgerald, Laurence Stallings, and Ernest Hemingway, American Writers and World War I argues that authors' war writing continuously evolved in response to developments in their professional and personal lives. Recent research has focused on constituencies of identity—such as gender, race, and politics—registered in American Great War writing. Rather than being dominated by their perceived membership of such socio-political categories, this study argues that writers reacted to and represented the war in complex ways which were frequently linked to the exigencies of maintaining a career as a professional author. War writing was implicated in, and influenced by, wider cultural forces such as governmental censorship, the publishing business, advertising, and the Hollywood film industry. American Writers and World War I argues that even authors' hallmark 'anti-war' works are in fact characterized by an awareness of the war's nuanced effects on society and individuals. By tracking authors' war writing throughout their entire careers—in well-known texts, autobiography, correspondence, and neglected works—this study contends that writers' reactions were multifaceted, and subject to change—in response to their developments as writers and individuals. This work also uncovers the hitherto unexplored importance of American cultural and literary precedents which offered writers means of assessing the war. Ultimately, the volume argues, American World War I writing was highly personal, complex, and idiosyncratic.
From iconic American humorist James Thurber, a celebrated and poignant memoir about his years at The New Yorker with the magazine’s unforgettable founder and longtime editor, Harold Ross “Extremely entertaining. . . . life at The New Yorker emerges as a lovely sort of pageant of lunacy, of practical jokes, of feuds and foibles. It is an affectionate picture of scamps playing their games around a man who, for all his brusqueness, loved them, took care of them, pampered and scolded them like an irascible mother hen.” —New York Times With a foreword by Adam Gopnik and illustrations by James Thurber At the helm of America’s most influential literary magazine from 1925 to 1951, Harold Ross introduced the country to a host of exciting talent, including Robert Benchley, Alexander Woollcott, Ogden Nash, Peter Arno, Charles Addams, and Dorothy Parker. But no one could have written about this irascible, eccentric genius more affectionately or more critically than James Thurber, whose portrait of Ross captures not only a complex literary giant but a historic friendship and a glorious era as well. "If you get Ross down on paper," warned Wolcott Gibbs to Thurber," nobody will ever believe it." But readers of this unforgettable memoir will find that they do. Offering a peek into the lives of two American literary giants and the New York literary scene at its heyday, The Years with Ross is a true classic, and a testament to the enduring influence of their genius.
The Moon of the Caribees, What Price Glory, They Knew What They Wanted, Porgy, Street Scene, Holiday.