A Fistful Of Icons

After a century of reinvention and, frequently, reinterpretation, Western movies continue to contribute to the cultural understanding of the United States. And Western archetypes remain as important emblems of the American experience, relating a complex and coded narrative about heroism and morality, masculinity and femininity, westward expansion and technological progress, and assimilation and settlement. In this collection of new essays, 21 contributors from around the globe examine the "cowboy cool" iconography of film and television Westerns--from bounty hunters in buckskin jackets to denizens of seedy saloons and lonely deserts, from Cecil B. DeMille and John Ford to Steve McQueen and Budd Boetticher, Jr.

Featuring rare, outstanding additional content, Clint Eastwood: Icon is the definitive collection of film art and material representing Clint Eastwood’s legendary career as seen through the original iconic artwork. Clint Eastwood is a nameless vigilante, a vengeful detective, a bare-knuckle boxer, a Secret Service agent, and countless other definitive screen archetypes now embedded in our shared pop-culture consciousness. However you define him, Clint Eastwood has a powerful and extremely recognizable image that exists as something beyond the narratives of his films. Featuring a wealth of additional content, this new edition of Clint Eastwood: Icon presents an unprecedented collection of film art and rare material surrounding the legendary actor. This comprehensive trove gathers together poster art, lobby cards, standees, Italian Spaghetti Western Premier posters, studio ads, and esoteric film memorabilia from around the world. From his early roles as the nameless gunslinger in Sergio Leone’s spaghetti Westerns, to the vigilante films of the 1970s and 1980s, through his directorial roles and latest releases, Clint Eastwood: Icon captures the powerful presence that turned Eastwood into the definitive American hero.

Dope Rider is back in town! After a 30-year hiatus, Paul Kirchner brought back to life his iconic, bony stoner hero whose first adventures were a staple of the psychedelic counter-culture magazine High Times in the 1970s and 1980s. The new stories collected in this book were all created after 2015 and despite the years, Dope Rider has stayed essentially the same, still smoking his ever-present joint, getting high and chasing metaphysical dragons through whimsical realities in meticulously illustrated and colorful one-page adventures. Fans of the original Dope Rider comics will still find the bold graphical innovations, dubious puns and wild dreamscapes inspired by classical painting and western movies that were some of Dope Rider’s trademark. This time though, Kirchner draws from a much larger panel of influences, including modern pop – and pot – culture (lines and characters from Star Wars as well as references to Denver as the US weed capital can be found here and there) and a wider range of artistic references, from Alice in Wonderland to 2001: A Space Odyssey to Ed Roth’s Kustom Kulture. Native American culture and mythology, only hinted at in the classic adventures, is also much more present in the form of Chief, one of Dope Rider’s new sidekicks. Kirchner’s playful, tongue-in-cheek humor binds together all these influences into stories that mock both the mundane and the nonsensical alike. Paul Kirchner lives in Connecticut. He started his career in the 1970s as an assistant to Wally Wood. His original Dope Rider stories are collected among other early works in the book Awaiting the Collapse. He also created the bus, a surrealistic monthly strip published in Heavy Metal magazine from 1979 to 1985 and illustrated the graphic detective novel Murder by Remote Control written by Janwillem van de Wetering. Paul Kirchner went back to comics during the 2010s with the bus 2 in 2015 and Hieronymus & Bosch in 2018. He continues to insist he has never used drugs, not even for research purposes.

This collection convenes diverse analyses of David Lynch's newly conceived, dreamlike neo-noir representations of the American West, a first in studies of regionalism and indigeneity in his films. Twelve essays and three interviews address Lynch's image of the American West and its impact on the genre. Fans and scholars of David Lynch's work will find a study of his interpretations of the West as place and myth, spanning from his first feature film, Eraserhead (1977), through the third season of Twin Peaks in 2017. Symbols of the West in Lynch's work can be as obvious as an Odessa, Texas street sign or as subtle as the visual themes rooted in indigenous artistry. Explorations of cowboy masculinity, violence, modern frontier narratives and representations of indigeneity are all included in this collection.

A fascinating novel of art theft, family intrigue, and an ancient religious artifact that possesses untold power When Matthew Spear, a young curator at the Metropolitan Museum of Art, meets the lovely Ana Kessler, an art dealer who has inherited an impressive group of pieces, he discovers a prize: the collection includes the Holy Mother of Katarini—a sacred icon long thought destroyed. But while Matthew recognizes the Icon’s value as a work of art, he also discovers that it may carry a far greater significance. Soon Matthew discovers that he has a strange and more personal connection to the Icon—one that thrusts him into a Byzantine web of death and deception. All involved believe the Icon to be a source of fantastic and inexplicable power, and all were somehow connected to the events that transpired during World War II. As he experiences the peculiar resonance of Icon, Matthew begins to see that the only way out of his entanglement is to discover what really happened in the past. Before he walks into the harrowing situation that will decide who lives and who dies, Matthew will be forced to re-examine virtually every aspect of his life—the loyalties within his family, his feelings for Ana, and even the question of his own faith. In a stunning debut that spans more than half a century and two continents, The Icon asks us to reach into the very heart of all our questions about faith, power, and love.

A NEW YORK TIMES BESTSELLER • From the master of the novel of international intrigue comes a riveting new book as timely and unsettling as tomorrow's headlines. It is summer 1999 in Russia, a country on the threshold of anarchy. An interim president sits powerless in Moscow as his nation is wracked by famine and inflation, crime and corruption, and seething hordes of the unemployed roam the streets. For the West, Russia is a basket case. But for Igor Komarov, one-time army sergeant who has risen to leadership of the right-wing UPF party, the chaos is made to order. As he waits in the wings for the presidential election of January 2000, his striking voice rings out over the airwaves offering the roiling masses hope at last—not only for law, order, and prosperity, but for restoring the lost greatness of their land. Who is this man with the golden tongue who is so quickly becoming the promise of a Russia reborn? A document stolen from party headquarters and smuggled to Washington and London sends nightmare chills through those who remember the past, for this Black Manifesto is pure Mein Kampf in a country with frightening parallels to the Germany of the Weimar Republic. Officially the West can do nothing, but in secret a group of elder statesmen sends the only person who can expose the truth about Komarov into the heart of the inferno. Jason Monk, ex-CIA and "the best damn agent-runner we ever had," had sworn he would never return to Moscow, but one name changes his mind. Colonel Anatoli Grishin, the KGB officer who tortured and murdered four of Monk's agents after they had been betrayed by Aldrich Ames, is now Komarov's head of security. Monk has a dual mission: to stop Komarov, whatever it takes, and to prepare the way for an icon worthy of the Russian people. But he has a personal mission as well: to settle the final score with Grishin. To do this he must stay alive--and the forces allied against him are ruthless, the time frighteningly short. . . . Praise for Icon “Vintage Forsyth, intricate, exact and gripping.”—The New York Times Book Review “Another strong performance by a writer who knows exactly what he's about, and who here catalyzes narrative with another memorable protagonist, the stealthy and daring Monk.”—Publishers Weekly (starred review) “One of his best works for a long time, which provides an all-too-real look at a chilling new millennium.”—The Sunday Times, London

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment.

Although Americans are no longer compelled to learn Greek and Latin, classical ideals remain embedded in American law and politics, philosophy, oratory, history and especially popular culture. In the Western genre, many film and television directors (such as John Ford, Raoul Walsh, Howard Hawks, Anthony Mann and Sam Peckinpah) have drawn inspiration from antiquity, and the classical values and influences in their work have shaped our conceptions of the West for years. This thought-provoking, first-of-its-kind collection of essays celebrates, affirms and critiques the West's relationship with the classical world. Explored are films like Cheyenne Autumn, The Wild Bunch, The Track of the Cat, Trooper Hook, The Furies, Heaven's Gate, and Slow West, as well as serials like Gunsmoke and Lonesome Dove.