In A Lonely Street

Taking issue with many orthodox views of Film Noir, Frank Krutnik argues for a reorientation of this compulsively engaging area of Hollywood cultural production. Krutnik recasts the films within a generic framework and draws on recent historical and theoretical research to examine both the diversity of film noir and its significance within American popular culture of the 1940s. He considers classical Hollywood cinema, debates on genre, and the history of the emergence of character in film noir, focusing on the hard-boiled' crime fiction of Dashiell Hammett, Raymond Chandler and James M. Cain as well as the popularisationof Freudian psychoanalysis; and the social and cultural upheavals of the 1940s. The core of this book however concerns the complex representationof masculinity in the noir tough' thriller, and where and how gender interlocks with questions of genre. Analysing in detail major thrillers like The Maltese Falcon, Double Indemnity, Out of the Past and The Killers , alongside lesser known but nonetheless crucial films as Stranger on the Third Floor, Pitfall and Dead Reckoning Krutnik has produced a provocative and highly readable study of one of Hollywood most perennially fascinating groups of films.

Her father's murder drives a young woman to seek refuge in Liverpool - but she could now be in even greater danger... Lyn Andrews' The House on Lonely Street is a powerful and nostalgic saga set in Dublin and Liverpool, of the power of love, friendship... and fear. Perfect for fans of Dilly Court and Kitty Neale. For Katherine Donovan the slums of Dublin are a lonely place. Her father, a pawnbroker, is the most hated man in the district, and Katherine an outcast. Her only friend is tiny Ceppi Healy, underfed, irrepressible and, the youngest in a neglected family of eight, as much an emotional orphan as eighteen-year-old Katherine. Then, one night, the unthinkable happens. Katherine's father is murdered, a victim of local revenge for an act of cruelty even she couldn't have anticipated. Fearing for her life, Katherine flees, taking with her the desperate young Ceppi. Liverpool is her longed-for haven and, with the last of her father's money, she rents a lodging house in a street decimated by the sinking of the Titanic. But, far from finding a refuge for herself and the little girl she promised to protect, she realises she has put them into the path of terrible danger... What readers are saying about The House on Lonely Street: 'I read [this book] in less than a day... The characters were so believable and you could imagine the struggle, but from the start you wanted Katherine to succeed' 'As usual Lyn Andrews tells a really good story. She makes you care about the characters, and the only criticism I have is that I was left wanting more' 'The brilliant plot will sweep you away to its majestic and tear-jerking ending'

for treble recorder and piano A light and airy piece for Christmas. The recorder line is simple and is accompanied by an equally accessible piano part.

Taking issue with many orthodox views of Film Noir, Frank Krutnik argues for a reorientation of this compulsively engaging area of Hollywood cultural production. Krutnik recasts the films within a generic framework and draws on recent historical and theoretical research to examine both the diversity of film noir and its significance within American popular culture of the 1940s. He considers classical Hollywood cinema, debates on genre, and the history of the emergence of character in film noir, focusing on the hard-boiled' crime fiction of Dashiell Hammett, Raymond Chandler and James M. Cain as well as the popularisationof Freudian psychoanalysis; and the social and cultural upheavals of the 1940s. The core of this book however concerns the complex representationof masculinity in the noir tough' thriller, and where and how gender interlocks with questions of genre. Analysing in detail major thrillers like The Maltese Falcon, Double Indemnity, Out of the Past and The Killers , alongside lesser known but nonetheless crucial films as Stranger on the Third Floor, Pitfall and Dead Reckoning Krutnik has produced a provocative and highly readable study of one of Hollywood most perennially fascinating groups of films.

"Albuquerque private eye Bubba Mabry is hired by a gold-swathed man named Buddy to work security for the King--a back-from-the-dead, low-profile Elvis--and becomes the sole suspect in two murders"--NoveList

For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw, including The Maltese Falcon, Double Indemnity. Laura, Murder, My Sweet, and The Woman in the Window, prompted the naming and theorization of a new phenomenon: film noir. Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look. Beginning with an autonomy of that look—of the 'poujadist' climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection—Shades of Noir re-explores and calls into question the object first constructed by it. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights. Several contributions analyze the re-emergence of noir in recent years, most notably in the hybrid forms produced in the 1980s by the merging of noir with science fiction and horror, for example Blade Runner and Angel Heart, and in films by black directors such as Deep Cover, Straight out of Brooklyn, A Rage in Harlem and One False Move. Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler, and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. As the role of women expands, the femme fatale remains deadly, but her deadliness takes on new meanings. Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie, Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil, David Reid and Jayne L. Walker, Marc Vernet, Slavoj Zizek.

"Elegant . . . A superb suspense novel, imbued with moral and narrative complexity and an omnipresent low cloud cover of dread.” —Maureen Corrigan, The Washington Post Two British men meet by chance in Berlin. Robert is trying and failing to finish his next book while balancing his responsibilities as a husband and father. Patrick, a recent arrival in the city, is secretive about his past, but eventually reveals that he has been ghostwriting the autobiography of a Russian oligarch. The oligarch has turned up dead, and Patrick claims to be a hunted man himself. Although Robert doubts the truth of Patrick’s story, it fascinates him, and he thinks it might hold the key to his own foundering novel. Working to gain the other man’s trust, Robert draws out the details of Patrick’s past while ensnaring himself ever more tightly in what might be either a fantasist’s creation or a lethal international plot. Through an elegant existential game of cat and mouse, Chris Power’s A Lonely Man depicts an attempt to create art at the cost of empathy. Robert must decide what is his for the taking—and whether some stories are too dangerous to tell.

Finalist for the National Book Critics Circle Award in Criticism #1 Book of the Year from Brain Pickings Named a best book of the year by NPR, Newsweek, Slate, Pop Sugar, Marie Claire, Elle, Publishers Weekly, and Lit Hub A dazzling work of biography, memoir, and cultural criticism on the subject of loneliness, told through the lives of iconic artists, by the acclaimed author of The Trip to Echo Spring. When Olivia Laing moved to New York City in her mid-thirties, she found herself inhabiting loneliness on a daily basis. Increasingly fascinated by the most shameful of experiences, she began to explore the lonely city by way of art. Moving from Edward Hopper’s Nighthawks to Andy Warhol’s Time Capsules, from Henry Darger’s hoarding to David Wojnarowicz’s AIDS activism, Laing conducts an electric, dazzling investigation into what it means to be alone, illuminating not only the causes of loneliness but also how it might be resisted and redeemed. Humane, provocative, and moving, The Lonely City is a celebration of a strange and lovely state, adrift from the larger continent of human experience, but intrinsic to the very act of being alive.