A funny friendship turns serious in this haunting book about secrets, lies, and what it means to be a true friend. “Rusty, I swear to howdy, if you tell a soul...” Joey Banks is a walking adventure. He’s funny, daring, mischievous—and frequently in trouble. Or he would be if anyone found out about half the stuff he’s done. But Rusty Cooper knows how to keep a secret. And Joey’s the best friend he’s ever had. But then comes a secret that is at once too terrible to tell and too terrible to keep. A secret so big it threatens to eat them alive. What would a true friend do now? Wendelin Van Draanen has written a richly layered book that offers a thought-provoking look at the boundaries of friendship and what it really means to be true.
What was it like to work behind the scenes, away from the spotlight's glare, in Hollywood's so-called Golden Age? The interviews in this book provide eye-witness accounts from the likes of Steven Spielberg and Terry Gilliam, to explore the creative decisions that have shaped some of Classical Hollywood's most-loved films.
Today more than ever, series finales have become cultural touchstones that feed watercooler fodder and Twitter storms among a committed community of viewers. While the final episodes of The Fugitive and M*A*S*H continue to rank among the highest rated broadcasts, more recent shows draw legions of binge-watching fans. Given the importance of finales to viewers and critics alike, Howard and Bianculli along with the other contributors explore these endings and what they mean to the audience, both in terms of their sense of narrative and as episodes that epitomize an entire show. Bringing together a veritable “who’s who” of television scholars, journalists, and media experts, including Robert Thompson, Martha Nochimson, Gary Edgerton, David Hinckley, Kim Akass, and Joanne Morreale, the book offers commentary on some of the most compelling and often controversial final episodes in television history. Each chapter is devoted to a separate finale, providing readers with a comprehensive survey of these watershed moments. Gathering a unique international lineup of journalists and media scholars, the book also offers readers an intriguing variety of critical voices and perspectives.
Exclusive CD! Brooks & Dunn's "Gotta Get Me One of Those" inside! Musicians by trade, Slim and Howdy have each come to a figurative crossroads in their lives. As fate would have it, they meet at these crossroads, never realizing it's a turning point in their lives. Forced by circumstances to share a truck, they take to the road in pursuit of a common goal -- to make it as musicians on the country music circuit. But it seems no matter where these two travel, trouble finds them. Whether it's turning the tables on a crooked card shark who takes everything they have, or fending off the raging boyfriend of that friendly gal from last night, the guys are constantly needing to outwit the world. And when their friend and boss Jodie Lee disappears, their resourcefulness will truly be tested. Each of the guys has his theory, but they'll need to work together to get to their friend before time runs out.
“Robison has a poet's eye for the unconscious surrealism of commercial America.” —The New York Times Book Review Tell Me reflects the early brilliance as well as the fulfilled promise of Mary Robison's literary career. In these stories—most of which appeared in The New Yorker throughout the eighties—we enter her sly world of plotters, absconders, ponderers, and pontificators. Robison's characters have chips on their shoulders; they talk back to us in language that is edgy and nervy; they say “all right” and “okay” often, not because they consent, but because nothing counts. Still, there are small victories here, small only because, as Robison precisely documents, larger victories are impossible. Here then, among others, is “Pretty Ice,” chosen by Richard Ford for The Granta Book of American Short Stories, “Coach,” chosen for Best American Short Stories, “I Get By,” an O. Henry Prize Stories selection, and “Happy Boy, Allen,” a Pushcart Prize Stories selection. These stories—sharp, cool, and astringently funny—confirm Mary Robison's place as one of our most original writers and led Richard Yates to comment, “Robison writes like an avenging angel, and I think she may be a genius.” “Mary Robison's short stories are short, subtle, and substantial... her ironic sense of detail bursts from every sentence.” —Vogue “Word for fucking word, her work demands our attention.” —David Leavitt, The Village Voice