Atlanta Nights

The world is full of bad books written by amateurs. But why settle for the merely regrettable? Atlanta Nights is a bad book written by experts. -- T. Nielsen Hayden Atlanta Nights is a book that could only have been produced by an author well-versed in believable storylines, set in conditions that exist today, with believable every-day characters. Accepted by a Traditional Publisher, it is certain to resonate with an audience. It fits their specialty like a glove. All proceeds from this book go to the Science Fiction and Fantasy Writers of America Emergency Medical Fund. Get the Tee-shirt http: //www.cafepress.com/atlanta_night

Lance Herndon was at the top of his game in 1996. At age forty-one he was a self-made millionaire, the owner of Access, Inc., a successful information-systems consulting company. As a prominent member of Atlanta's young, wealthy, and powerful set, he was surrounded by black Atlanta's "beautiful people." But when he failed to show up for work one day, friends and family started to worry. Their worry soon turned to horror when he was found murdered in his own home, his head smashed in—in what appeared to be either an act of jealousy-fueled rage or a seedier sex crime. With a laundry list of ex-wives and lovers, competitors, critics, and admirers in hand, detectives had to break through the city's upper crust to discover his killer. Journalist Ron Stodghill tells the riveting, true story of this investigation. Part investigative thriller, part sociological commentary, Redbone offers a truly intriguing story that channels insight into one of America's great metropolises.

Parody: The Art That Plays with Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an über-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.

Final yearly issue includes index of special articles. December through March issues contain reports of snow and ice conditions.

Jemeker Thompson-Hairston paid a heavy price for her involvement in the drug game. Learning from her sources of a federal investigation, Jemeker went on the run. It was love for her young son that brought her back to Los Angeles, even though she knew she would be arrested. A subsequent 15-year sentence would cost her not only her legitimate business and the fortune she'd amassed through the drug trade, but the most precious thing of all: time with her child. But not all was lost. Fortunately, while Thompson-Hairston was serving out the fifteen-year sentence, one pivotal moment helped her turn her life around, setting her on a path to help and inspire others like her. Now, in QUEEN PIN, written with New York Times bestselling author David Ritz, she reveals in gripping detail her journey of redemption that readers won't soon forget.

One month after her novel Gone With the Wind was published, Margaret Mitchell sold the movie rights for fifty thousand dollars. Fearful of what the studio might do to her story—“I wouldn’t put it beyond Hollywood to have . . . Scarlett seduce General Sherman,” she joked—the author washed her hands of involvement with the film. However, driven by a maternal interest in her literary firstborn and compelled by her Southern manners to answer every fan letter she received, Mitchell was unable to stay aloof for long. In this collection of her letters about the 1939 motion picture classic, readers have a front-row seat as the author watches the Dream Factory at work, learning the ins and outs of filmmaking and discovering the peculiarities of a movie-crazed public. Her ability to weave a story, so evident in Gone With the Wind,makes for delightful reading in her correspondence with a who’s who of Hollywood, from producer David O. Selznick, director George Cukor, and screenwriter Sidney Howard, to cast members Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland and Hattie McDaniel. Mitchell also wrote to thousands of others—aspiring actresses eager to play Scarlett O’Hara; fellow Southerners hopeful of seeing their homes or their grandmother’s dress used in the film; rabid movie fans determined that their favorite star be cast; and creators of songs, dolls and Scarlett panties who were convinced the author was their ticket to fame and fortune. During the film’s production, she corrected erring journalists and the producer’s over-the-top publicist who fed the gossip mills, accuracy be damned. Once the movie finished, she struggled to deal with friends and strangers alike who “fought and trampled little children and connived and broke the ties of lifelong friendship” to get tickets to the premiere. But through it all, she retained her sense of humor. Recounting an acquaintance’s denial of the rumor that the author herself was going to play Scarlett, Mitchell noted he “ungallantly stated that I was something like fifty years too old for the part.” After receiving numerous letters and phone calls from the studio about Belle Watling’s accent, the author related her father was “convulsed at the idea of someone telephoning from New York to discover how the madam of a Confederate bordello talked.” And in a chatty letter to Gable after the premiere, Mitchell coyly admitted being “feminine enough to be quite charmed” by his statement to the press that she was “fascinating,” but added: “Even my best friends look at me in a speculative way—probably wondering what they overlooked that your sharp eyes saw!” As Gone With the Wind marks its seventy-fifth anniversary on the silver screen, these letters, edited by Mitchell historian John Wiley, Jr., offer a fresh look at the most popular motion picture of all time through the eyes of the woman who gave birth to Scarlett.