Our Kind Of Movie

A celebrated writer on contemporary art and queer culture argues that Andy Warhol's films enable us to see differently, and to see a different world. “We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'” —Andy Warhol Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With Our Kind of Movie Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years—and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise—films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinéma-vérité documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In Our Kind of Movie Crimp shows how Warhol's films allow us to see against the grain—to see differently and to see a different world, a world of difference.

Two young lovers treat themselves to a once-in-a-lifetime holiday on the Caribbean island of Antigua. He's an austere tutor at Oxford. She's a sparky rising London barrister. Their native Britain is floundering in debt. On the second day of their holiday they encounter a rich, charismatic 50-something Russian millionaire called Dima who owns a peninsula, wears a diamondencrusted Rolex watch, has a tattoo on the knuckle of his right thumb, and wants a game of tennis. What else Dima wants is the engine that drives John le Carré's majestic, thrilling, tragic, funny, and utterly engrossing new novel of greed and corruption, from the arctic hells of the gulag archipelago to a billionaire's yacht anchored off the Adriatic Coast; to the Men's Final of the French Open tennis championships at the Roland Garros stadium; to two murky Swiss bankers dubbed Peter and the Wolf; and finally and fatally to a Swiss alpine resort nestling in the shadow of the north face of the Eiger and the story's terrifying end.

“A searing, chilling sliver of perfection . . . May well turn out to be the year’s best thriller.” —Charles Finch, The New York Times Book Review “This is simply one of the nastiest and most disturbing thrillers I’ve read in years. I loved it, right down to the utterly chilling final line.” —Gillian Flynn “A perfect nightmare of a novel—as merciless a thriller as I’ve ever read. Astonishingly dark and sensationally accomplished.” —A. J. Finn, author of The Woman in the Window A spellbinding, darkly twisted novel about desire and obsession, and the complicated lines between truth and perception, Our Kind of Cruelty introduces Araminta Hall, a chilling new voice in psychological suspense. This is a love story. Mike’s love story. Mike Hayes fought his way out of a brutal childhood and into a quiet, if lonely, life before he met Verity Metcalf. V taught him about love, and in return, Mike has dedicated his life to making her happy. He’s found the perfect home, the perfect job; he’s sculpted himself into the physical ideal V has always wanted. He knows they’ll be blissfully happy together. It doesn’t matter that she hasn’t been returning his e-mails or phone calls. It doesn’t matter that she says she’s marrying Angus. It’s all just part of the secret game they used to play. If Mike watches V closely, he’ll see the signs. If he keeps track of her every move, he’ll know just when to come to her rescue . . .

Get Out meets The Stepford Wives in #1 New York Times best-selling author Nicola Yoon’s first adult novel • A terrifying and thought-provoking look at what it means to be truly free in America as a woman uncovers a secret about her new home in a utopian community Jasmyn and King Williams move their family to the planned Black utopia of Liberty, California hoping to find a community of like-minded people, a place where their growing family can thrive. King settles in at once, embracing the Liberty ethos, including the luxe wellness center at the top of the hill, which proves to be the heart of the community. But Jasmyn struggles to find her place. She expected to find liberals and social justice activists striving for racial equality, but Liberty residents seem more focused on booking spa treatments and ignoring the world’s troubles. Jasmyn’s only friends in the community are equally perplexed and frustrated by most residents' outlook. Then Jasmyn discovers a terrible secret about Liberty and its founders. Frustration turns to dread as their loved ones start embracing the Liberty way of life. Will the truth destroy her world in ways she never could have imagined? Thrilling with insightful social commentary, One of Our Kind explores the ways in which freedom is complicated by the presumptions we make about ourselves and each other.

With echoes of Rules of Civility and The Boston Girl, a compelling and thought-provoking novel set in postwar New York City, about two women—one Jewish, one a WASP—and the wholly unexpected consequences of their meeting. One rainy morning in June, two years after the end of World War II, a minor traffic accident brings together Eleanor Moskowitz and Patricia Bellamy. Their encounter seems fated: Eleanor, a teacher and recent Vassar graduate, needs a job. Patricia’s difficult thirteen-year-old daughter Margaux, recovering from polio, needs a private tutor. Though she feels out of place in the Bellamys’ rarefied and elegant Park Avenue milieu, Eleanor forms an instant bond with Margaux. Soon the idealistic young woman is filling the bright young girl’s mind with Shakespeare and Latin. Though her mother, a hat maker with a little shop on Second Avenue, disapproves, Eleanor takes pride in her work, even if she must use the name "Moss" to enter the Bellamys’ restricted doorman building each morning, and feels that Patricia’s husband, Wynn, may have a problem with her being Jewish. Invited to keep Margaux company at the Bellamys’ country home in a small town in Connecticut, Eleanor meets Patricia’s unreliable, bohemian brother, Tom, recently returned from Europe. The spark between Eleanor and Tom is instant and intense. Flushed with new romance and increasingly attached to her young pupil, Eleanor begins to feel more comfortable with Patricia and much of the world she inhabits. As the summer wears on, the two women’s friendship grows—until one hot summer evening, a line is crossed, and both Eleanor and Patricia will have to make important decisions—choices that will reverberate through their lives. Gripping and vividly told, Not Our Kind illuminates the lives of two women on the cusp of change—and asks how much our pasts can and should define our futures.

A bold, compelling, and original study of nonhuman life in Warhol. Like a Little Dog examines a dimension of Andy Warhol that has never received critical attention: his lifelong personal and artistic interest in nonhuman life. With this book, Anthony E. Grudin offers an engaging new overview of the iconic artist through the lens of animal and plant studies, showing that Warhol and his collaborators wondered over the same questions that absorb these fields: What qualities do humans share with other life forms? How might the vulnerability of life and the unpredictability of desire link them together? Why has the human/animal/plant hierarchy been so rigidly, violently enforced? Nonhuman life impassioned every area of Warhol’s practice, beginning with his juvenilia and an unusually close creative collaboration with his mother, Julia Warhola. The pair codeveloped a transgressive animality that permeated Warhol’s prolific career, from his commercial illustration and erotica to his writing and, of course, his painting, installation, photography, and film. Grudin shows that Warhol disputed the traditional claim that culture and creativity distinguish the human from the merely animal and vegetal, instead exploring the possibility of art as an earthy and organic force, imbued with appetite and desire at every node. Ultimately, by arguing that nonhuman life is central to Warhol’s work in ways that mirror and anticipate influential texts by Toni Morrison and Ocean Vuong, Like a Little Dog opens an entirely unexplored field in Warhol scholarship.

Reconsidering the dynamics of perception Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.

Perfect for fans of Emily Henry and Ali Hazelwood, this “sweet and funny” (Kerry Winfrey, author of Waiting for Tom Hanks) teen rom-com is hopelessly romantic with enemies to lovers and grumpy x sunshine energy! Liz hates her annoyingly attractive neighbour but he’s the only in with her long-term crush… Perpetual daydreamer and hopeless romantic Liz Buxbaum gave her heart to Michael a long time ago. But her cool, aloof forever crush never really saw her before he moved away. Now that he’s back in town, Liz will do whatever it takes to get on his radar—and maybe snag him as a prom date—even befriend Wes Bennet. The annoyingly attractive next-door neighbour might seem like a prime candidate for romantic comedy fantasies, but Wes has only been a pain in Liz’s butt since they were kids. Pranks involving frogs and decapitated lawn gnomes do not a potential boyfriend make. Yet, somehow, Wes and Michael are hitting it off, which means Wes is Liz’s in. But as Liz and Wes scheme to get Liz noticed by Michael so she can have her magical prom moment, she’s shocked to discover that she likes being around Wes. And as they continue to grow closer, she must re-examine everything she thought she knew about love—and rethink her own ideas of what Happily Ever After should look like. Better Than the Movies features quotes from the best-loved rom-coms of cinema and takes you on a rollercoaster of romance that isn’t movie-perfect but jaw-dropping and heart-stopping in unexpected ways. Pre-order Nothing Like the Movies, the swoony sequel to Better than the Movies and don't miss out on The Do-Over and Betting On You from Lynn Painter!