Doing favors can be tricky. When Sam agrees to help the sheriff of Prescott track down a young man going bad, and is helping Thelma get to Prescott, it doesn't seem like a big deal. But strange forces are at work. And Sam is already dealing with misgivings about his drifting life as a bounty hunter. Seeing men who are married and living easy lives has him thinking. Where is his heading? But living in the west ain't easy, and when the bullets start flying, thinking has to be put off for a time. Another exciting Sam Colder story.
In this triumphant bestseller, renowned novelist James A. Michener unfolds a powerful and poignant drama of disenchanted youth during the Vietnam era. Against exotic backdrops including Spain, Morocco, and Mozambique, he weaves together the heady dreams, shocking tribulations, and heartwarming bonds of six young runaways cast adrift in the world—as well as the hedonistic pursuit of drugs and pleasure that collapses all around them. With the sure touch of a master, Michener pulls us into the private world of these unforgettable characters, exposing their innermost desires with remarkable candor and infinite compassion. Praise for The Drifters “A blockbuster of a book . . . full of surprise, drama, and fascination.”—Philadelphia Bulletin “Rings with authentic detail and clearly descriptive sights and smells . . . The Drifters is to the generation gap what The Source was to Israel.”—Publishers Weekly “[The Drifters] conveys a sense of a new time, a new generation.”—Chicago Sun-Times “Michener has slid open a window on the world of the dropout and has spared no effort to make the reader aware of this new world.”—The Salt Lake Tribune
Beginning at the end of the 1980s, after the reform in China, there was a boom of working class. The first generation of workers was called "first generation migrants." Most of their children, the "second generation workers" in this novel, are teenagers about 16 or 17 years old who are graduating high school. They must deal with work, love, and marriage, even though they are still in their teens. Due to the restriction of household registration, most of these teenage second generation workers have no choice but to leave the city they grew up and go back to their hometowns. Although they grew up in the city, they don't have their household registration to remain in the city. If they do manage to find white-collar jobs, they are still called "second generation migrants." This story tells about these second generation Children of the Drifters, and is filled with details about their lives, loves, and worries.
This volume, originally published in 1987, fills a gap in a neglected area. Looking at the entire war in the Mediterrean, the volume examines the war from the viewpoint of all the important participants, making full use of archives and manuscript collections in Britain, France, Italy, Germany, Austria and the United States. A fascinating mosaic of campaigns emerges in the Adriatic, Straits of Otranto and the Eastern Aegean. The German assistance to the tribes of Libya, the threat that Germany would get her hands on the Russian Black Sea Fleet and use it in the Mediterreanean, and the appearance and influence of the Americans in 1918 all took place against a background of rivalry between the Allies which frustrated the appointment of Jellicoe in 1918 as supreme command at sea in a role similar to that of Foch on land.
Anna has always been a risk-taker and a free spirit, but now she is raising a young daughter on her own and she has to play it safe. Her twenty-something neighbor with the slow, easy smile is in no way part of Anna's plans. She resists temptation in every way she can, yet Anna is soon drawn into a reckless and obsessive affair. Provocative, headlong, and utterly compelling, The Boy is the story of a woman on the edge, torn between love and compulsion, desire and duty. Lara Santoro writes in "hypnotic and swiftly paced" prose (Daniel Woodrell) about the hazards of passion and motherhood and about one woman's unthinkable rebellion. "Gorgeous, fiercely intelligent, deeply honest, and incredibly entertaining." -- Anne Lamott
American director Robert Altman (1925-2006) first came to national attention with the surprise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades. Critics and scholars have noted that music is central to Altman's films, and in addition to his feature films, Altman worked in theater, opera, and the emerging field of cable television. His treatment of sound is a hallmark of his films, alongside overlapping dialogue, improvisation, and large ensemble casts. Several of his best-known films integrate musical performances into the central plot, including Nashville (1975), Popeye (1980), Short Cuts (1993), Kansas City (1996), The Company (2003) and A Prairie Home Companion (2006), his final film. Even such non-musicals as McCabe and Mrs. Miller (1971) have been described as, in fellow director and protégé Paul Thomas Anderson's evocative phrase, as "musicals without people singing." Robert Altman's Soundtracks considers Altman's celebrated, innovative uses of music and sound in several of his most acclaimed and lesser-known works. In so doing, these case studies serve as a window not only into Altman's considerable and varied output, but also the changing film industry over nearly four decades, from the heyday of the New Hollywood in the late 1960s through the "Indiewood" boom of the 1990s and its bust in the early 2000s. As its frame, the book considers the continuing attractions of auteurism inside and outside of scholarly discourse, by considering Altman's career in terms of the director's own self-promotion as a visionary and artist; the film industry's promotion of Altman the auteur; the emphasis on Altman's individual style, including his use of music, by the director, critics, scholars, and within the industry; and the processes, tensions, and boundaries of collaboration.
A groundbreaking and irresistible biography of three of America’s most important musical artists—Carole King, Joni Mitchell, and Carly Simon—charts their lives as women at a magical moment in time. Carole King, Joni Mitchell, and Carly Simon remain among the most enduring and important women in popular music. Each woman is distinct. Carole King is the product of outer-borough, middle-class New York City; Joni Mitchell is a granddaughter of Canadian farmers; and Carly Simon is a child of the Manhattan intellectual upper crust. They collectively represent, in their lives and their songs, a great swath of American girls who came of age in the late 1960s. Their stories trace the arc of the now mythic sixties generation—female version—but in a bracingly specific and deeply recalled way, far from cliché. The history of the women of that generation has never been written—until now, through their resonant lives and emblematic songs. Filled with the voices of many dozens of these women's intimates, who are speaking in these pages for the first time, this alternating biography reads like a novel—except it’s all true, and the heroines are famous and beloved. Sheila Weller captures the character of each woman and gives a balanced portrayal enriched by a wealth of new information. Girls Like Us is an epic treatment of midcentury women who dared to break tradition and become what none had been before them—confessors in song, rock superstars, and adventurers of heart and soul.
The political turmoil of the Spanish Civil War, together with the attendant cultural isolationism which Franco's repressive regime imposed upon the Spanish people has ironically fostered a strong tradition of subversive film makers dedicated to challenging the assumed realities of the status quo. Intent upon the ruthless exposure of hypocrisy and repression, the four Spanish directors, Bunuel, Saura, Erice and Almodovar have created a unique and distinctive body of work. Gwynne Edwards' Indecent Exposures gives the reader a first-class introduction to ten of their films, depicting a world where bourgeois values have collapsed, and the facades of good manners, political expediency and social propriety have all been thrown aside. Such cinema classics as Bunuel's Viridiana, Saura's Raise Ravens, Erice's Spirit of the Beehive and Almodovar's Women on the Verge of a Nervous Breakdown are all analyzed in great depth, their major and minor themes discussed and set against both the social and political contexts of the time and the concerns reflected in the directors' own lives. Indecent Exposures is essential reading for anyone interested in Spanish cinema; perhaps one of the most vibrant and iconoclastic contributions to this twentieth-century medium.
