The Trouble With Harry

This book suggests a merely logically organized society, carried too far, is destructive of culture. Another reason, weaker than science, is more important for cultural direction, and for understanding evolution's direction as well. Such a reason is set within frameworks of contrary directions called here Arrow and Lace. Recognizing these frameworks is essential for understanding social, cultural and individual differences, both locally and world-wide. A much needed companion to any study of Logic and Critical Thinking.

A secret. A murder. And a mangy old hen that cock-a-doodles in the morning and sets tongues wagging. The Trouble with Harry, by multi-award winning playwright Lachlan Philpott, rips back the curtains on the case of Eugenia Falleni, the notorious 'Man-Woman' murderer of 1920s Sydney.

A dark comedy of errors made famous by Alfred Hitchcock. With a new introduction by Michael Moorcock On the outskirts of a small town, young Abie discovers the body of a middle-aged man in the woods. Three people are convinced they are responsible for Harry's death: Captain Wiles thinks he accidentally shot him while hunting rabbits; Miss Graveley thinks she may have done more damage than she intended when she hit him with her shoe - and Abie's mother reveals that it might have been her too. The police are called in to investigate, but meanwhile artist Sam Marlow becomes a good-natured sleuth, helping the townspeople to bury, dig up, and rebury the corpse in an effort to evade the authorities and finally discover the truth about Harry.

A centenary edition of Stuart Timmons' award-winning biography of Harry Hay, founder of the modern gay rights movement.

When a Regency lady answers an advertisement for a wife, she thinks she may have found the love of her life if she can keep her new husband out of trouble long enough to find out. Reissue.

An entertaining, in-depth look at the films, including Rear Window, made by Alfred Hitchcock with screenwriter John Michael Hayes. In spring 1953, the great director Alfred Hitchcock decided to take a chance and work with a young writer, John Michael Hayes. The decision turned out to be a pivotal one, for the four films that Hitchcock made with Hayes over the next several years -- Rear Window, To Catch a Thief, The Trouble with Harry, and The Man Who Knew Too Much -- represented an extraordinarily successful change of style. Each of the movies was distinguished by a combination of glamorous stars, sophisticated dialogue, and inventive plots -- James Stewart and Grace Kelly trading barbs in the tensely plotted Rear Window, Cary Grant and Grace Kelly engaging in witty repartee in To Catch a Thief -- and resulted in some of Hitchcock's most distinctive and intimate work, based in large part on Hayes's exceptional scripts. Exploring for the first time the details of this collaboration, Steven DeRosa follows Hitchcock and Hayes through each film from initial discussions to completed picture and presents an analysis of each screenplay. He also reveals the personal story -- filled with inspiration and humor, jealousy and frustration -- of the initial synergy between the two very different men before their relationship fell apart. Writing with Hitchcock not only provides new insight into four films from a master but also sheds light on the process through which classic motion pictures are created.

Slavoj Žižek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. Žižek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's Vertigo to Stephen King's Pet Sematary, from McCullough's An Indecent Obsession to Romero's Return of the Living Dead—a strategy of "looking awry" that recalls the exhilarating and vital experience of Lacan. Žižek discovers fundamental Lacanian categories the triad Imaginary/Symbolic/Real, the object small a, the opposition of drive and desire, the split subject—at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of Žižek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is not saying, Žižek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.

Was Alfred Hitchcock a cynical trifler with his audience's emotions, as he liked to pretend? Or was he a profoundly humane artist? Most commentators leave Hitchcock's self-assessment unquestioned, but this book shows that his movies convey an affectionate, hopeful understanding of human nature and the redemptive possibilities of love. Lesley Brill discusses Hitchcock's work as a whole and examines in detail twenty-two films, from perennial favorites like North by Northwest to neglected masterpieces like Rich and Strange.