Heartbreak And Vine

"As slick as a switchblade with a pearl handle."—Lee Child, New York Times best-selling author Los Angeles bodyguard/bouncer Caleb Rush (Crush) is back in this second Crush novel. When Rachel Fury, a con-artist friend who'd vanished for a couple of years after a big scam, reappears in Hollywood under a new name as a glitzy movie star, she hires Crush as a bodyguard, and he quickly gets drawn into a criminal mess that requires all his brawn, skill, and savvy to negotiate. It's rich with Hollywood lore, New Orleans charm, snappy dialogue, fast-paced action, and noir atmosphere. Phoef Sutton is a New York Times–bestselling novelist, television writer, and playwright whose work has won two Emmys, a Peabody, a Writers Guild Award, a GLAAD Award, and a Television Academy Honors Award. The first novel in the Crush series, titled Crush, was a Kirkus Best Mystery of 2015 and a Los Angeles Times “Summer Reading Page-Turner.” Sutton has been an executive producer of Cheers, a writer/producer for such shows as Boston Legal and NewsRadio, a writer for Terriers, and the creator of several TV shows, including the cult hit Thanks. He is also the co-author, with Janet Evanovich, of two New York Times. bestsellers. Curious Minds. and Wicked Charms. His other novels include the romantic thriller 15 Minutes to Live.. Sutton lives with his family in South Pasadena, California.

A companion piece to Woody Haut's two acclaimed histories of post-war American crime fiction, Pulp Culture and Neon Noir, Heartbreak and Vine tells the story of the intimate links between crime fiction and films. Almost all the great names of crime fiction, from Hammett to Chandler, Leonard to Ellroy, have spent time in Hollywood and Haut recounts their experiences and provides an acute commentary on the development of the crime movie from Little Caesar to The Big Sleep, Kiss Me Deadly to LA Confidential. Haut illuminates the movieland careers of early greats like W.R. Burnett and James M. Cain, and then brings the story right up to date with original interviews with contemporary crime novelists like Eddie Bunker, George P. Pelecanos and James Lee Burke talking about their Hollywood experiences. A must read for anyone seriously interested in either American crime fiction or film noir.

Film noir was a cycle in American cinema which first came into prominence during World War II, peaked in the 1950s, and began to taper off as a definable trend by 1960. Over the years, a group of films from the period emerged as noir standards, beginning with Stranger on the Third Floor in 1940. However, since film noir is too wide-ranging, it cannot be kept within the narrow limits of the official canon that has been established by film historians. Consequently, several neglected movies made during the classic noir period need to be re-evaluated as noir films. In Out of the Shadows: Expanding the Canon of Classic Film Noir, Gene Phillips provides an in-depth examination of several key noir films, including acknowledged masterpieces like Laura, The Maltese Falcon, Sunset Boulevard, and Touch of Evil, as well as films not often associated with film noir like Spellbound, A Double Life, and Anatomy of a Murder. Phillips also examines overlooked or underappreciated films such as Song of the Thin Man, The Glass Key, Ministry of Fear, and Act of Violence. Also considered in this reevaluation are significant neo-noir films, among them Chinatown, Hammett, L.A. Confidential, and The Talented Mr. Ripley. In his analyses, Phillips draws upon a number of sources, including personal interviews with directors and others connected with their productions, screenplays, and evaluations of other commentators. Out of the Shadows explores not only the most celebrated noir films but offers new insight into underrated films that deserve reconsideration. Of interest to film historians and scholars, this volume will also appeal to anyone who wants a better understanding of the works that represent this unique cycle in American filmmaking.

This book interrogates the repertoire of masculine performance in popular crime fiction and cinema from the 1940s, 50s, and 60s. This critical survey of the back alleys of pulp culture reveals American masculinities to be unsettled, contentious, crisis-ridden, racially fraught, and sexually anxious. Libertarian in their sensibilities, self-aggrandizing in their sentiments, resistant to the lures of upper mobility, scornful of white collar and corporate culture, the protagonists of these popular and populist works viewed themselves as working-class heroes cast adrift. Pulp Virilities explores the enduring traditions of hard-boiled and noir literature, casting a critical eye on its depictions of urban life and representations of gender, crime, labor, and race. Demonstrating how anxieties and possibilities of American masculinity are hammered out in works of popular culture, Pulp Virilities provides a rich cultural genealogy of contemporary American social life.

Spanning Tom Waits' extraordinary 40-year career, from Closing Time to Orphans, Lowside of the Road is Barney Hoskyns' unique take on one of rock's great enigmas. Like Bob Dylan and Neil Young, Waits is a chameleonic survivor who's achieved long-term success while retaining cult credibility and outsider mystique. From his perilous "jazzbo" years in '70s Los Angeles to the multiple-Grammy winner of recent years - by way of such shape-shifting '80s albums as Swordfishtrombones - this exhaustive biography charts Waits' life step-by-step and album-by-album. Affectionate and penetrating, and based on a combination of assiduous research and deep critical insight, this is a outstanding investigation of a notoriously private artist and performer - the definitive account to date of Tom Waits' life and work.

Pulp According to David Goodis starts with six characteristics of 1950s pulp noir that fascinated mass-market readers, making them wish they were the protagonist, and yet feel relief that they were not. His thrillers are set in motion by suppressed guilt, sexual frustrations, explosions of violence, and the inaccessible nature of intimacy. Extremely valuable is a gangster-infested urban setting. Uniquely, Goodis saw a still-vibrant community solidarity down there. Another contribution was sympathy for the gang boss, doomed by his very success. He dramatizes all this in the stark language of the Philadelphia’s “streets of no return.” The book delineates the noir profundity of the author’s work in the context of Franz Kafka’s narratives. Goodis’ precise sense of place, and painful insights about the indomitability of fate, parallel Kafka’s. Both writers mix realism, the disorienting, and the dreamlike; both dwell on obsession and entrapment; both describe the protagonist’s degeneration. Tragically, belief in obligations, especially family ones, keep independence out of reach. Other elements covered in this critical analysis of Goodis’s work include his Hollywood script-writing career; his use of Freud, Arthur Miller, Faulkner and Hemingway; his obsession with incest; and his “noble loser’s” indomitable perseverance. Praise for PULP ACCORDING TO DAVID GOODIS: “This was a fascinating read. [Gertzman] appears as an expert not only on Goodis’s body of work but on the pulp era of fiction in general, mid-twentieth-century American history, Philadelphia history, literary analysis, and a litany of other subjects. The book is stylishly written and well designed for reaching a broader, nonacademic audience interested in the pulp’s history, role in American culture, and meaning. Frankly, the crime fiction community needs more books like this!” —Chris Rhatigan, editor, publisher, and writer of hard-boiled and noir literature “Jay Gertzman is one of those rare maverick critics with the courage to explore the dark alleys of American literature, and to report back with commendable honesty about what he has found. His book Pulp According to David Goodis is a perfect match of critic to author, and it belongs in the collections of universities hoping to be regarded as major.” —Michael Perkins, author of Evil Companions, Dark Matter, and The Secret Record: Modern Erotic Literature “The most comprehensive Goodis study yet. Gertzman culls the files, brings everything together and then some. Not only essential reading for all Goodis obsessives but an excellent introduction to one of noir’s greatest writers.” —Woody Haut, author Pulp Culture: Hard-boiled Fiction and the Cold War, Heartbreak and Vine, and Neon Noir: Contemporary American Crime Fiction

The literary equivalent of a great dive bar jukebox--inspiring, provocative, irresistible, and the perfect gift for all music lovers. At the heart of all music fetishes, there are lists: ten essential female murder ballads, ten unsettling songs for a midwestern white guy to wake to from a coma, ten smutty Bob Dylan moments, and of course the ever-popular staple of all music lists (and listeners)--ten best breakup songs. Hang the DJ compiles what contributors might once have scribbled in the back of their textbooks or school folders, when they--like all of us at one point--were absolutely sure that they alone were the sole guardians of Musical Truth; that Sparks' number two hit, "This Town Ain't Big Enough for the Both of Us," really should have made it to the number one spot, that Gary Numan was merely a misshapen progeny of Bowie's Thin White Duke persona, that female singer-songwriters are better than their male equivalents. Mixing anecdote, humor, reference, and sheer dorkiness--but with the bizarre insight of an anthropological study in pop-culture protocol--Hang the DJ is a collection of lists about musical loves, hates, dreams, and nightmares from music-lovers such as Rick Moody, Jonathan Lethem, Simon Reynolds, Ali Smith, Amanda Petrusich, and many other bloggers, journalists, novelists, poets, and musicians.

Heartbreak and Vine tells the story of the close links between crime fiction and films. Most of the great names of crime fiction, from the early greats like Dashiell Hammett, Raymond Chandler, W.R. Burnett and James M. Cain to Elmore Leonard and James Ellroy have spent time in Hollywood. Haut recounts their experiences and interviews contemporary crime novelists like Michael Connelly, Dennis Lehane and George Pelecanos about their Hollywood experiences. A must read for anyone interested in either American crime fiction or film noir.