Mondo James Dean

Twenty-three stories and poems featuring as their hero the movie actor James Dean, a 1950s cult figure. In one of them, Michael Hemminson's Jimmy, Dean is portrayed in hell. A sequel to Mondo Elvis.

After the death of James Dean in 1955, the figure of the teen rebel permeated the globe, and its presence is still felt in the twenty-first century. Rebel iconography—which does not have to resemble James Dean himself, but merely incorporates his disaffected attitude—has become an advertising mainstay used to sell an array of merchandise and messages. Despite being overused in advertisements, it still has the power to surprise when used by authors and filmmakers in innovative and provocative ways. The rebel figure has mass appeal precisely because of its ambiguities; it can mean anything to anyone. The global appropriation of rebel iconography has invested it with fresh meanings. Author Claudia Springer succeeds here in analyzing both ends of the spectrum—the rebel icon as a tool in upholding capitalism's cycle of consumption, and as a challenge to that cycle and its accompanying beliefs. In this groundbreaking study of rebel iconography in international popular culture, Springer studies a variety of texts from the United States and abroad that use this imagery in contrasting and thought-provoking ways. Using a cultural studies approach, she analyzes films, fiction, poems, Web sites, and advertisements to determine the extent to which the icon's adaptations have been effective as a response to the actual social problems affecting contemporary adolescents around the world.

Amid a childhood steeped in tragedy, murder, and abuse clouded by the familys alcoholism and inner demons, one boy, crowned with an innate gift imposed on him by the miracle of human creation, at the age of fourteen, separates himself from the family ignominies and to stave off poverty. He is determined to override and erase the memory of his abusers and his grandfathers debacle and the tragedy that resulted from it--his self-confidence prevails. The combination of forbidding and bliss convey a diverse story: from a group of religious people who sexually abused him, to the center of the glamorous celebrity world, to Mother Nature that, in a spectacular display, demonstrated his future, and how he comes to meet the President of America, Pope John XXIII, the King of Thailand, and numerous Hollywood luminaries.

A larger-than-life narrative of the making of the classic film, marking the rise of America as a superpower, the ascent of Hollywood celebrity, and the flowering of Texas culture as mythology. Featuring James Dean, Rock Hudson, and Elizabeth Taylor, Giant is an epic film of fame and materialism, based around the discovery of oil at Spindletop and the establishment of the King Ranch of south Texas. Isolating his star cast in the wilds of West Texas, director George Stevens brought together a volatile mix of egos, insecurities, sexual proclivities, and talent. Stevens knew he was overwhelmed with Hudson’s promiscuity, Taylor’s high diva-dom, and Dean’s egotistical eccentricity. Yet he coaxed performances out of them that made cinematic history, winning Stevens the Academy Award for Best Director and garnering nine other nominations, including a nomination for Best Actor for James Dean, who died before the film was finished. In this compelling and impeccably researched narrative history of the making of the film, Don Graham chronicles the stories of Stevens, whose trauma in World War II intensified his ambition to make films that would tell the story of America; Edna Ferber, a considerable literary celebrity, who meets her match in the imposing Robert Kleberg, proprietor of the vast King Ranch; and Glenn McCarthy, an American oil tycoon; and Errol Flynn lookalike with a taste for Hollywood. Drawing on archival sources Graham’s Giant is a comprehensive depiction of the film’s production showing readers how reality became fiction and fiction became cinema.

Filling an important gap in the literary world, The Richard Peabody Reader is a wide-ranging selection of this great writer's poetry and prose. As a publisher, Peabody's steadfast dedication to that which is new, challenging, innovative, and dynamic has won him a wide reputation among writers whose work he has championed. This volume demonstrates those same values, embodied in nearly four decades of fiercely smart, sophisticated, and often very funny writing. From his first collection of poems, I'm in Love with the Morton Salt Girl, to his most recent collection of short stories, Blue Suburban Skies, Peabody has established and developed a thoroughly unique voice, both warm and piercing, to deliver content that ranges from the hilarious, as in the short story "Flea Wars," to the bittersweet, as in the poem "The Other Man is Always French," to the elegiac, as in the poem in "Civil War Pieta," to the absurd, as in the rollicking farce of the short story, "Bad Day at Ikea." Peabody's aesthetic is all-embracing—strands of punk, beat, experimental, feminist, and political protest literary influences blend with the purely romantic to create a body of work that is both profound and pleasing.

Gardner Dozois, science fiction's foremost editor, consistently selects the field's best work each year with this showcase anthology. This year's collection presents sterling short stories from veterans and newcomers alike, including Stephen Baxter, Alan Brennert, Carolyn Ives Gilman, James Patrick Kelly, Geoffrey A. Landis, Paul J. McAuley, Robert Reed, William Sanders, Howard Waldrop, and many others. Rounded out with Dozois's insightful Summation of the Year in SF and a long list of Honorable Mentions, this anthology is the book for every science fiction fan.

A collection of 19 stories. The title story is about the reaction of a young woman to a group that has given up sex, in Jimmy Dean: My Kind of Guy, a woman has an affair with the famous actor who did not die, and Pandora's Box is on a woman offering sex on the phone.