Pulp Books

Tarantino's rich, exciting dialogue comes to life in his Oscar-winning screenplay, Pulp Fiction. If you love the film, read this, because it may answer any further questions you have about it, and you'll understand the movie a bit more. I strongly recommend this book to anyone who highly admires Quentin Tarantino.

the reason i like this movie is because it has alot of big name actors of the 90s samuel l. jackson, john t, bruce willis, ving rhames, uma thurman, and tim roth i enjoyed when uma thurman got high and was listening 2 some cool music n her house 2 celebrate her and john winning the dancing contest at the restuarnat this movie made me respect samuel jackson more because like denzel most of his movies are outspoken characters in this movie he plays a religious guy who has strong belief in Jesus Christ so with that he tells his partner john during their conversation at a classy restuarant that he is going to retire and walked da earth and john told him he was crazy because da people that walked da earth are known as bums which was kind of funny 2 me and bruce willis breaking on his adorable wife was also funny when he got very mad at her for leaving his father valuable watch at the hotel he had 2 go back and get it and got into so trouble on his way there pulp fiction slightly turned into die hard because bruce was all bloodly up like he was in all of his die hard films ving rhames was the king in this film but later he was raped by a gay guy but bruce saved him and he told bruce that this was between them there was some other scenes but the scenes that i mentioned all my favorite parts of the movie

This is the original screenplay of 1994's top movie, Pulp Fiction. If you haven't seen this flick, do so. Right now. Afterwards, buy this trade paperback and relive all the high points of the film. The stories are great, the characters leap from the pages, and the dialogue is tight and witty. It's $12.95 well spent, if only so you can deliver all the cool lines at parties. My favorite bit of dialogue involves Butch, a boxer, and Esmerelda, a cab driver.

Butch: ...Esmarelda Villalobos--is that Mexican?
Esmerelda: The name is Spanish, but I'm Colombian.
B: It's a very pretty name.
E: It means "Esmerelda of the wolves."
B: That's one hell of a name you got there, sister.
E: Thank you. And what is your name?
B: Butch.
E: Butch. What does it mean?
B: I'm an American, baby, our names don't mean s***.

I've already written a review for the movie which I gave five stars and now i'm giving the same to the screenplay.The scrrenplay had all of the same things the movie had and some stuff that was left on the cutting room floor in the final cut of the movie,but the screenplay is always good to read to see the way the story was told and then put on film.For example,the Marcellus and Zed scene when you see it you are utterly disgusted and strangely mesmerized at the same time and when you read that part in the screenplay the way Quentin Tarantino wrote and explained the scene was magnificent although I try to skip that entire scene while watching the DVD.Quentin Tarantino is not
only a great director but he is also the definitive screenwriter
and Pulp Fiction proves that the man can write.

PULP FICTION, the film, is one of my favorites, and I own both the DVD and the screenplay by Quentin Tarantino. Now, as with most things, since Quentin has become ultra-popular, it's suddenly become "cool" to dislike him and his movies (particularly FICTION). Quoting Dave Thomas (SCTV), "Let's get down to the nitty gritty here": Whether or not you like the film, Quentin DOES have a knack for superb dialogue, and here is proof.

Recommended on all levels - one of my hobbies is scriptwriting and this is a definite inspiration as it was written by a man-child who never took a single screenwriting course. He just did it, and that's always been my own strategy when it comes to these things.

Conan is so exciting and exhilirating. His world is so rich and vibrant, and often even feels real- like some kind of lost history. I heartily recommend this graphic novel. The story-telling is really strong and the art is simply exquisite.

I have had only limited exposure to graphic novels in general, and Conan in particular, but find it hard to believe that this new adaptation isn't one of the best of the genre. Kurt Busiek's original stories fill in the time around one of the most famous Conan stories from Robert E Howard, THE FROST GIANT'S DAUGHTER. Cary Nord's drawings portray Conan just as I have always pictured him and the coloring is absolutely beautiful, bringing the story to life. These new stories of Conan's early days are everything I hoped they would be and more. Can't recommend this volume enough for old Conan fans or new readers looking for a good place to start.

This first volume of the new Darkhorse 'Conan' series includes a prelude, 'THE LEGEND' that sets the scene for the entire series and is itself adapted from another of REH's original tales. When an ancient statue of Conan is discovered, along with a scribe's history of the hero, a ruler of the 'future' demands to know more about the mysterious king. In this way, the stories presented in this series are meant to actually be the scribe's writings of Conan's adventures.

This volume includes: 'Out of the Darksome Hills', 'The Frost Giant's Daughter', 'At the Back of the North Wind', 'The Gates of Paradise', 'Ashes and Dust', 'Day of Farewell', and 'Blood for Blood'. These stories combine chronologically to tell a greater tale of Conan's initial experience in Hyperborea, a land that he had longed to visit but which sorely disappointed him (to say the least). Each of the first seven 'chapters' of this new Conan series by Darkhorse is very pleasing, with violence, danger, intrigue, and of course, beautiful women.

At the end of this trade paperback edition, there is a stirring and sad recount of Robert E Howard's life. His amazingly short but productive career is a story worth knowing.

Maybe its because of my limited exposure to previous Conan works, but I thought this volume was just plain excellent. Highly recommended. Can't wait to get the next one.

The Art here is unbelievable, and the storytelling is excellent. I highly recommend this book, and this series. This is Conan, the way it should be told. The creators have made a beautiful and fitting tribute to one of the greatest fantasy characters of all-time. This is compelling, page turning adventure on the highest level.

This could not be better! The drawings are fantastic! Storyline is very good, great characters. Brutally fantastic! You should have this in your comic collection, it will be worth to have it.

The stories here are ok--they should be, as one of them is a straight Howard take.

However, I have a big problem with the artwork. The painted, somewhat pastel at times indistinct style makes Conan look like an eyeless kobold at times, and at others like big-eyed wild madmen all over the place. Non-inked fuzzy style looks crappy, to me.

Growing up with Barry Windsor-Smith this is a change much for the worse.

I won't be reading any more of this with the same art style.

Typee was a difficult book to read but worth the effort. There isn't much plot beyond "Tommo's" rehabilitation at the hands of the Typee and his fears that they might be cannibals. Is he being nursed back to health or fattened for a future supper? As with Moby Dick, the bulk of the text is in the form of essay and commentary. There are lengthy discussions on the language, the architecture, the music (or lack thereof), taboos and tatoos, and diet of the Typee. These extra chapters though don't have the humor that is present in Moby Dick. They are still an interesting observation on one subset of Polynesian culture.

Melville's famed magnus opus, "Moby Dick" should not be tackled without this adequate introduction to his work and dazzling literary adroitness. Do not have any apprehensions animated by a seemingly simplistic or bromide plot, for once a reader foreign to Melville's work grasps the exquisite prose and sincere romanticism ingrained in all of his novels, you're soon to become a captive of it's pages bound by an aroused imagination. Soon to learn the fame and notoriety surrounding Herman Melville is certainly not without reason and like many noble literary giants that have gone before us, his masterpieces withstand the test of time deservingly of the title, "Classic."

The quixotic idea of emerging as a castaway on a dissolute tropical island hidden from the world, deep in paradise with only the company of an exotic but mysterious native people should not deter you from believing "Typee" is of any similarity to other inferior postdating stories of the like. Melville combines a brilliantly adventurous travelogue accompanied by earnest philosophical reflections balancing it all out with anthropological observations of the Island's primitive peoples, as well as recollections of his own home. This famed novel was an ebullient endeavor during it's day which hints the emprise of such modern films as "Castaway" while engrossing the empathy of multiculturalism found in "Dances With Wolves." It is feasibly the first accurate portrait painted of South Pacific life through the eyes of a Westerner, influencing many travelogues to follow focusing on the region in the same fashion of Stevenson and Becke.

Numerous editions have been published since the original. The Penguin Classics Edition provides an introduction by author John Bryant who puts the story into context and Melville's conclusion of the supporting character's fate, written two years prior to the first edition in "Sequel: The Story of Toby."

When first published in 1846, "Typee" was an immediate hit. Readers of the era in the US and even in Europe already knew to expect stupendous things from the then obscure author. This is exemplified by the book's quantum leap to stardom. The original draft was submitted to be published in New York but was rejected supposedly because it was "too fantastic" to be true. The apparent fact that after more than a century and a half of being published readers still have an appetite for Melville's original work, must persuade even the most discriminating of literary tastes of the caliber of his writing. Do not be deceived by the age of "Typee." You needn't be a diehard classical literature enthusiast nor scholar to appreciate this very readable, gracefully written novel. Which is contrary to the sometimes unfathomable rhetoric of the bygone antebellum era. It remains still just as amusing and captivating to readers today.

"Typee" was the first of a trilogy of autobiographical novels set in the South Pacific dealing with Polynesian life. Readers of the author's lifetime couldn't get enough of his masterpieces still acclaimed today. Although not quite as well known as "Moby Dick" is to modern day readers, "Typee" is no less gripping or eloquent.

(This review is based on the Library of America edition)

Melville's first book - and you can call it a novel, because it is - is quite an impressive work. I have to admit that during my reading of it, I didn't know how much was non-fiction and how much was fiction. In the case of a non-fiction book, I would have been rather astonished by Melville's work. But the fact is that this isn't a non-fiction book, and that as a reader you should think more of a literary work. But do not be sad!

For what Melville does remains awesome. The book begins like a novel; the narrator seeks to escape his whaler and remain some time on one of the Marquesan Islands. After numerous adventures, he's eventually caught by the Typees, and from that point on, the book becomes close to an anthropological study of the exotic habits of the tribe. Melville is very insightful and witty, and more often than not, funny. His prose is rich and wonderful. A pure pleasure to read.

"Typee" is a peek at some kind of long lost Eden, where no one has to work for a living - fruits can be plucked any time - and where there seems to be no evil. The Typees all have perfect beautiful skin, due to countless bathings during the day, and they're seldom seen to either cause or receive any harm. However, things aren't so dream-like, and the narrator is constantly haunted by the ghost of cannibalism, especially as he has no clear idea of why his captors detain him and yet treat him kindly.

The author manages to produce some very interesting comparisons between the exotic "savages" and the Western Man, and this reminds me of many a sociologic book. Society, culture, humanity, all of these - and more - are considered from a very unique perspective in "Typee". Life among the cannibals, in an Eden of sorts, that is, in short, what the novel is about. Excellent read from a master of literature.

Realizing that at least some people might want to know if the book is a good read or not, I'll write a review that hopefully wont read like the opener to a thesis on early american literature: Here goes...

I liked it! I thought this Mellville guy writes and interesting and egageing story. Perhaps he does go into details that the story doesn't need, but even his tangents on trees and fruits, etc. are well written.

Worth the money, worth the time, and worth the attention. Plus, there is the added benefit of acting like a literature snob on a review.:)

Its a book, people. Relax, and enjoy.

All things considered, Typee is an excellent book considering it was Melville's first. The themes hidden inside a simple voyage onto the Nukuheva island are utterly breath-taking. Although Meliville states that "He has stated such matters just as they occurred, and leaves every one to form his own opinion concerning them,"(xx), we all know that the truth was stretched out such as the fact that, in reality, he was only on the Islands for four weeks, not four months. But his imagery, symbolism, and entire demise of the meaning of "civilization," is what makes this novel, a remarkable one.

The magnificent scenery and what it stands for is the readers first see as Melville's first main themes in Typee. Melville's imagery is what catches the attention of his readers. They delve deep within the picture he displays with the words he selects. The entire island that is described constantly through the story gives a sort of reference to the garden of Eden, but of course has a hidden meaning. Some critics interpret the reference to the garden of Eden as a symbol for innocence. But when Tommo first hears of the dreaded Typees, he only believes in their cannibalism. After living with them for four months, he always has that first reaction of the Typees in the back of his mind. Other critics would argue that the injured leg that Tommo is mysteriously diagnosed of only comes and goes according to his true feeling of the Typees at that moment. The Garden of Eden is known for it's beauty, it's tranquility, and it's innocence. All these things are attributes of the island but yet they also show that there cannot be innoncence without violence. The Typees are figured out in the end and the sayings are true but not how the rumors are spread. Tommo figures out that the "savages" are more civilized than the white men are back at home. Those French that landed to come take over are not helping the savages; they are destroying their villages and culture, like "savages." Ever since the beginning, Tommo notices that the savages are probably the truly more humane of the two. "'Yet, after all,' I quoth to myself, 'insensible as he is to a thousand wants, and removed from harassing cares, may not the savage be the happier man of the two?'" (29) This quote demonstrates two things. The undoubtable influence Shakespeare had on Melville and the remarkable foreshadowing that was to display the complete way of life, even of those most "savage," the Typees.

Another main part of Typee is the theme of forbidden romance. Tommo falls in love with the beautiful Fayaway and in the end, he could not even console her as she sobbed while he escaped in a row boat home. Melville proves in his writing that even though Tommo was entirely happy at times, there was always a moment of doubt. Here he demonstrates that even though this is "paradise" or "utopia," man will always miss his own culture no matter how violent they can be. Even though Tommo degraded the white man at every sign of native compassion to each other, he still wanted to go back. Don't forget that he was a prisoner in this peaceful place, and he escapes the island through the one thing that he feared, violence. Was it that he had learned the way of the Typees or had it always been there?

This wonderful book used to be one of the few positive lesbian books out there. I know when I found it, years ago, I was comforted by the portrayal of two women making their way in a world that does not want them to be together. They lack even the words to describe their feelings for each other. When one describes her physical reaction to the other's lovemaking as "melting" I thought that was a perfect description for the book. It made all my cynicism melt away for a while.

It's a period piece and a well-written romantic tale that no true romantic will want to miss.

A lovely story of finding genuine love, and finding this personal awareness and passion, long before society was willing accept same-gender lovers. Always believable, highly literate, this novel will inspire you to seek out and build a love such as Patience and Saran had for yourself. In this current time where many attactions appear to evaporate in the morning sun, partners will want to read this together. Patience and Sarah will inspire you and your love to build an enduring bond.

Miller's writing ability is to be highly commended. She manages to combine warmth, love and humor into each page. Having read one too many "small blond" books, it's refreshing to find a lesbian love story in which the writing technique does not become irritating after the first chapter.

Also, this book contains no elderly, non-judgemental housekeepers. The women have to figure things out all by themselves.

Best line in the book: "I'm not playing you, Darling, I'm landing you."

A touching story of two women who fall in love and defy their families and society to be together. Nothing vulgar or obscene. The author did a wonderful job of portraying the genuine love these two women felt for eachother despite very different upbringings. A quick and enjoyable read.

This is a terrific novel that should not be missed. This is a timeless classic so well written you would think the author made a career in writing historic literature.

You actually feel the deep emotion that they have for each other. It's so strong that you sometimes forget the humor that is laced throughout. There are some powerful scenes that reflect the harsh times where women did not have a say in their own affairs.

There is as much depth in one chapter as you will get in entire novels. The writing simply flows and you don't put the book down until you notice the day has gone dark and lunch and dinner time have passed you by. Wonderful characters so rich in details that you wonder about them long after the novel ends.

I couldn't be happier by the authors other books - if you enjoyed Patience and Sarah you will be delighted with Side by Side.

You will not find a better novel to read

Everything about this gigantic collection is fantastic, the 16.99 price tag is the best thing. It is an inexpensive way to get all of the great stories that made these pulp mags in the 20's and 30's great. Of course some of the stories are much better than the others but that is what makes the collection fun you run across stories and authors long lost to history. If you are looking for dirty, sleazy and fantastic private eye stories ranging from dames, drugs, thefts to murder than this is the only collection to quench your thirst.

This book may be the most enjoyable read I have encountered in many a year - Otto Penzler has not only assembled a treasure trove of sometimes clever, often exciting and always fun whodunits; he has presented the reader with a veritable time machine. These stories were originally published in monthly "pulp" magazines in the 20s,30s and 40s, and they place the reader squarely into the essence of those decades. We learn so much of the popular culture of those times - the cars, the slang, attitudes towards romance, towards issues of crime and punishment - consumer products - It was a blast to read and almost made me wish I were alive in those good old bad days. Well Done!

What a great read. It reminds me of when I was a kid and created my interest in reading which lasted a lifetime. I loved to read both western and mystery pulp fiction magazines.

Cover blurb: "The best crime stories from the pulps during their golden age--the '20s, '30s, & '40s."

This collection of pulp fiction weighs in at 1141 pages of stories about crime fighters, villains, and dames. The stories, written for cheap magazines that paid writers a penny a word or less for fast-moving formulaic fiction, vary in quality and length, but have much in common: absurd action, slangy dialogue, chain-smoking whiskey-slugging detectives and policemen, sexist treatment of women, and minimal description of settings invariably dark and dangerous.

The size of the collection and the variety of authors of varying abilities brought together in this large collection made me take notice of a couple of interesting and sometimes disturbing themes I had not noticed reading past pulp fiction.

--an underlying assumption of racism. The gang members are invariably Italian, while policemen and detectives often have Irish names, setting up an unspoken racial conflict between the older Irish and newer Itialian immigrants. African-Americans are usually stereotyped as grotesquely obsequious, or referred to by a variety of ethnic slurs not repeatable today. The racism is part of the visceral language and violent action of the heroes in these stories, and therefore most disturbingly not just acceptable but expected and relished by contemporary readers.

--the driving impetus of Prohibition. While the liquor-ban was in effect during this entire period, alcohol was readily available and heavily consumed, but its supply was controlled by criminals and its demand was driven by weak men and women who frequented dark places which bred crime and social disorder. Nowhere in these stories is there any debate about the value of Prohibition, it is merely part of the background that is blithely ignored by all classes and races, and even the legal system itself.

--classism, directed both upward toward the wealthy and downward to the poorest. The rich are at best objects of envy, and usually derogated as weak, stupid, grasping, or undeserving usurpers of the labor of those below them; this feeling is shared by both the criminals and the crime fighters in these stories, the crime fighters often with the hinted feeling that they are unwilling and underpaid lackeys guarding riches they will never touch.

Meanwhile, at the bottom rung of society, the poorest, while sometimes the beneficiaries of Robin Hoods who disperse their criminal gains downward, most often face the irrational hatred of those just above them on the social ladder whose grip on the rung depends on their stolen wealthy. Even the most sympathetic policemen consider the poor to be the breeding ground of the criminal element; the more cynical seem to blame the criminal mind on the weakness of poverty.

--an absence of technology, particularly cell phones, that made it possible for those who wanted to disappear to do so with a readiness not possible today. Without the ubiquitous cell phone, it is amazing the number of times in every story that the intrepid detective or scheming criminal must plan his next actions around the location of an available phone. Drug stores are most often frequented to find a phone booth, not to make a purchase.

A serious study of these elements in the extant body of pulp fiction would be a fascinating companion to the history of the United States in the 1920s through 1940s. In the meantime, the reader can enjoy these stories. The sheer size of the collection, given the limitations of the genre, lead to some repetitiveness, but the reader can understand and enjoy the qualities of the better writers, and the endearing campiness of the worst.

any compilation is open to criticism as to what was omitted. but if you're looking for a really big compilation of writing in this genre, it's tough to beat this. and, the introductions for each author are a nice added touch for those of us who know only the big names.
highly recommended.

Okay this is embarrassing: I'm a big classic movie buff, and a lover of women's lit circa 1940, and I had never read "Laura". Or known that the film was based on a book. Or that the book was written by a woman. Or that it's spectacular.

Taking a cue from Wilkie Collins "The Woman in White", "Laura" uses the still-unusual multiple-perspective structure, telling a wild murder-mystery story in the voices of alternating characters. Now, if you have never seen "Laura" and somehow do not know the famous story, stop reading this review. Don't read any reviews, don't learn a thing more about it, just buy a copy and dig in. I can't imagine what a pleasure this book would be if you came to it unprepared. What a literary experience! Come back and we'll talk about it later.

Just the people who already know the plot left? Good. "Laura" is still very much worth reading if you've seen the film, and even manages to be suspenseful. Laura herself is a bit more fleshed out; less sultry siren and more coltish young girl. Mark is one of my all-time favorite novel detectives; part everyman, part smart-cookie, all hottie. The dialogue crackles, the characters live and breathe, and the pace is lightning.

While I'm grateful to the Feminist Press for reissuing "Laura" I can't warm to their introduction, which tries to pass off this and other books in the "Women Who Write Pulp" series as more hard-boiled than they really are, and the afterword by A. B. Emrys struck me as kinda stupid. Skip them both if you like and get to Vera Caspary's masterpiece, really one of the greatest detective novels ever written. And let's spread her name around a bit, she deserves it.

GRADE: A

If you are looking for a story to help pass the time away on a Sunday afternoon, this is your book. Vera Caspary's "Laura" provides sufficient entertainment and a brisk narrative to keep the reader interested and the pages turning.

Caspary's novel is noteworthy for its changing use of narrators and the perspective each one lends to the story unfolding. The first narrator is Waldo Lydecker, a self-acclaimed critic and journalist with a taste for collectibles and condescension. Second is Detective Mark McPherson, who is investigating the murder of the title character and struggling with the feelings he develops for her. Third is Laura herself, a supposed murder victim who finds herself to be a suspect and discovers her reliable supoprters may not be as steadfast as she thought. The fourth part consists of a police transcript, and the fifth and final part reverts to Mark McPherson's voice.

Caspary shows skill in evoking Waldo Lydecker's intelligence and snobbery through his self reference and sophisticated language. Distinctive voices are less apparent for McPherson and Laura, however. Were the plot more complex then the perspectives would perhaps be more enlightening. As is, they come across as a gimmick. Most of the narrations are dialog heavy and primarily recount events or simple emotions. As characters they share very little time together or with the reader, leaving an overall feeling of disjointedness. Perhaps this was Caspary's aim; however, the net effect is less powerful than I would have liked.

For those who know the movie, there are some notable differences in the novel that have a significant impact on the atmosphere. As mentioned above, because Laura narrates, one is able to enter her thoughts. She is much less of an aloof enigma and more of a woman on the brink of a violent outburst. Mrs. Treadwell is far more benign, and any relationship she has with Shelby Carpenter, Laura's fiance, is barely hinted at. Lydecker displays an unusal fascination with Mark, while Mark is preoccupied with Carpenter and the feeling of having met him before.

There are not many surprises as to the mystery's solution, given the paucity of characters. Part five (McPherson's second narration) acts as a type of rebuttal to the preceding four parts. This twist is modestly effective but not jaw-dropping.

Written by Vera Caspery in 1943, this mystery romance is sometimes overshadowed by the magnificent film it spawned starring Dana Andrews and Gene Tierney. Otto Preminger's masterpiece is one of the finest mysteries in the history of motion pictures. But that should not detract from its original source. Quite simply, this is one of the greatest novels ever written in the genre. Caspery used an unusal narrative structure to create an atmospheric and involving mystery which has stood the test of time.

The story revolves around Detective Mark McPherson's investigation into the murder of Laura Hunt. McPherson has somewhat of a celebrity status within the department due to some front page cases he has been involved with. But he is unprepared for the high society circles Laura moved in, and Caspery lets us see through his eyes the affectations of the rich. It is a world where people begin their insults with endearing terms like darling, then proceed to use words the roughest seaman wouldn't use to tear you apart.

Laura's benefactor and sometimes companion, Waldo Lydecker, is the poster boy for such behavior. He uses his well known newspaper column to destroy all Laura's would be suitors. Only the man she was set to marry, Shelby Carpenter, was able to withstand the glare of Lydecker's poison pen scrutiny. But on the weekend before she was to be married, a knock on the door late at night, followed by a shotgun blast, cuts her life short.

Waldo Lydecker begins the narration, then McPherson picks up where he left off. It is during McPherson's narration we get to see events as they really are, and we understands his actions. Caspery creates a real atmosphere to scenes between Lydecker and McPherson. You can almost feel the breeze in the popular open air restaurant where they dine and hear the young woman going from table to table singing Smoke Gets in Your Eyes. And you can sense McPherson's frustration with the pretty boy, Shelby Carpenter. Above all this, however, we fully understand how McPherson has fallen in love with a dead girl, because we have also.

Laura was different than these people, inspiring loyalty in her working-class maid Bessie. She shares a favorite book with McPherson and loves baseball. McPherson begins to wonder how a smart girl like Laura managed to surround herself with empty people, their arrogant morals and gutter ethics only surpassed by their lack of character. But Caspery is smart enough to let us see into a woman's heart as well.

On a rainy night in Laura's 5th Avenue walk up, while McPherson sits underneath her painting looking through her diary, something startling and unforseen occurs. It is one of the greatest twists in mystery history.

What Caspery does at this junction is turn an already great mystery romance novel into a mezmerizing mystery romance novel. We simply can't put it down at this point. It is a fantastic read and stands with a handful of others in the genre as one of the best ever written. It is timeless, as fresh today as it was in 1943. This is one book in the genre not to be missed.

I had been on a quest to find this book for 6 years when I found it at my faithful second hand store about 2 years ago. My husband heard the scream I don't remember doing and rushed to my aid. He says (I don't rememeber) I was standing there, clutching the book with a bewildered, enraptured look on my face. He smiled and quietly paid for the book that I was practically knawing on to get through it.
Its not like the movie, which in my oppinion is good. It doesn't diminish the quality of the movie, nor does it take away from its own merrits of suspence and excitement. I loved it. Vera Caspery made the characters more defined, the image of Laura became clearer as did those of Shelby, Mark, and Waldo.
Thanks Honey.

This is excellent as far as screenplays go. See the review of the movie for more details. This play is in 74 pages. If you are looking for the Novel this is not it. The movie with Gene Tierney is well played.

Publisher: Dramatists Play Service, Incorporated
If you found the play interesting you may want to obtain a copy of "Laura as Novel, Film, and Myth" by Eugene McNamara for more insight.

Story:
Waldo Lydecker, self-centered writer is having his lunch interrupted by a young lady Laura Hunt who is soliciting his endorsement of a pen. He takes her under his wing and grooms her for corporate greatness. Later it looks like someone has bumped off Laura. Detective Lt. Mark McPherson is assigned to the case. Somewhere in the process of investigation he seems to have fallen in love with the dead Laura and wants to buy her portrait.

Can we figure out who did it before Mark?

One of the best horror anthologies I have ever come across. Really well-chosen, well-written stories. Starts off with a bang with NIGHTGUARD and keeps getting better. HEY, FAIRY! is a great story. Real imagination here, all through the book. Can't wait for the sequel!

I loved this book! The stories were first-rate, including work by some of the best-known and accomplished horror writers in the field, including Michael Marano, Douglas Clegg, Caitlin R. Kiernan, and Brian Hodge. The stories ran the gamut from vampires and werewolves and ghosts, to more eclectic supernatural slitherings. The advantage of being the first book of this kind ever ("Bending The Landscape" is also good, though it came later than "Queer Fear") is that it breaks the ground and claims it as its own. This book, after all, was a finalist for two Lambda Literary Awards and a Spectrum Award. On the downside, there's something about a book like this that seems to exacerbate homophobia and jealousy in some readers, some of whom have reviewed it online (proving that if you can't write or edit yourself--or are a bigot--you can always diss a book online). I advise readers to that (...) and get to "Queer Fear," post-haste. I only wish editor Michael Rowe (who also edited the vampire books "Sons of Darkness" and "Brothers of the Night") had contributed some of his own work. I've read his non-fiction in "Fangoria" and "Rue Morgue," and his fiction in the "Northern Frights" series. It rocks! Oh, well...maybe next time...hope there's a sequel!

I really liked this book, even though I'm not a big fan of the horror genre. It's an elaborate, wide-ranging collection of stories, many of which use their "queerness" as a metaphor for their estrangement from mainstream society -- hence, the "fear." Even if you're not a horror fan per se, it's a great and often fascinating read.

What disappointed me the most about Queer Fear was that the editor seems to think that "gay" and "queer" should mean "gay male." All but one of these stories are about men, and most are of the carelessly-written sort that one expects to find in anthologies of "gay fiction." There's very little that's frightening (or even interesting) here, more a preoccupation with sex than writing good stories. However, Caitlin Kiernan's "Spindleshanks," the ONLY story in the book about lesbians, is, curiously, also the only story in Queer Fear that transcends the pulply, hackneyed tone of the anthology to deliver something of literary merit. I would have given the book one star, but Kiernan's lush prose and skillful characterization are worth a couple more.

After reading some of the other reviews I felt compelled to throw in my 2 cents. The various reviewers are all over the map from "LOVED IT ALL" to "IT SUCKED" - which is to be expected in any collection of short stories, and while there were some that I thought should have been omitted, there are others that more than make up for it. I am a fan of the horror genre, and gay which of course means I'm the core audience for this book and probably a little biased - that said, I truly enjoyed most of the stories in this collection... Notably - Genus Loci, Bear Shirt, The Spark and Piercing Men. I also enjoyed The Goodbye, though it was far from Queer Fear and many would argue should not have been included, it was a nice "palatte cleanser" in the mix.

If you were to add a chapter on anything that may be perceived as missing, you will turn this already massive chunk of wood into something the size of a CPU. I already hate lugging it around. The only way to improve on the size is to split the material into sections sell it as a similarly priced hard or soft cover set. Then we can add the chapter on TB, sure. Knowing my instructors they'd all be coming to class every day anyways. My only complaint is the weight.

The content is direct, concise, not overly boring, understandable even when this was new and after a couple of years, I'm glad I have the reference still. The order and organization is not what I would have chosen. I knew people who cut the thing up in sections and carried chapters/sections around in report folders... It is BIG. But it is the best. The only other basic reference/text on the subject out there that even compares is Kacmarek's Essentials, it's smaller... LOL. Kacmarek is actually co-writer of the new 2008 Egans.

I would definitely be interested in any new publications by these authors solely on manifestation/process of respiratory disease. That has potential!

Thanks for reading my review!

Egan's has always had a lot of information in it on respiratory care, but it's very hard to understand for someone just coming into the respiratory field. When I can't find something somewhere else, I go to Egan's. The only problem is that I have to translate it into normal English before I fully understand.

You must have it and keep it forever, it has diseases, pharmacology, equipment, procedures, everything!

I find Egan's very useful, especially in detailing all the physiopathologic mechanisms lying under mechanical ventilation.
Good are also the chapters on respiratory infections, and on respiratory pharmacology.
I only would have expected a chapter on TB, which lacks at all, but maybe this wuould have required extended explanations and the Authors preferred putting it apart.
Very good anyway !

I don't know why so many people rate this book so highly.

We had to buy it when we were RT students, but it was not that helpful. It is a reference for people who already understand the concepts. As a textbook for learning, it is really bad. The way it is written, you wonder of the writer has a pulse. It is so dry, with no attempt to make the reader understand the concepts behind the voluminous information. Without comprehension, you are sure to quickly forget the dry data presented. It was not used much by our class, yet every one of us was required to have this massive book in our backpack, in addition to many others books. This is a heavy book. A single Egan's that stayed in the classroom and that was available to the students would have been enough.

You want the greatest respiratory care textbook ever written? Get Clinical Practice in Respiratory Care by James B. Fink and Gerald E. Hunt. Gerald Hunt was one of the respiratory care teachers at Butte College, in Oroville, CA, where I graduated from. Unfortunately he left just before I entered the program, but his knowledge was legendary. After he left he finished this textbook. I read his textbook, cover to cover, a few years after I graduated. Wow. I wish we had this book when I was a student. When I am king, this will be the main textbook in all respiratory care programs.

What I consider one of the greatest descriptive writers in the Western cannon, Chandler can transport you in to old Los Angeles. Every story will make you crave a stiff drink and perhaps even leaving a smell of tabacoo in your clothes. I recomend these stories to people who want to understand LA better because Chandler caught the essence of the city that can even be seen today. Look down the 2nd street tunnel at 2 am and see that barrel of a gun or drive to the Rosebowl and see why he makes reference that there are no sidewalks in that wealthy neighborhood. If you want to learn about noir, there is a reason Chandler is considered one of the fathers.

There are Hammett fans and Chandler fans. I am for Hammett, but Chandler's work remains compelling. The plots are nonsense but the metaphors are the purest gold. The opening scenes of THE BIG SLEEP and FAREWELL, MY LOVELY are delicious every time.

Chandler is perhaps the greatest writer of detective fiction and a great author period. To ignore these books is to ignore much of what is great about American literature.

Two of his three best novels are included here (The Big Sleep & Farewell, My Lovely).

The stories and great fun, if also rather flawed. My biggest complaint is that are presented here in their republished form, rather than with the original names of the protagonists. (For example, the hero of "Red Wind" is Philip Marlowe here, rather than John Dalmas.) That a fairly minor quibble. Especially good are "Goldfish" and "Red Wind."

The binding is very nice, as are all Library of America editions. My edition has held up quite well after heavy use.

Just my personal opinion, but I think Raymond Chandler is one of the most underrated American authors. Anyone who hasn't read "The Long Goodbye" must be punishing themselves for sins in a past life. "The Big Sleep" and "The High Window" are also excellent novels--good mysteries.

But what really makes Chandler's stories hold up so well is the language: "The Dancers is the kind of club that will dissolution you about what a lot of extra golf money can do for the personality" or "What does it matter, if you're breathing wind and air or oil and water--when you're sleeping the big sleep."

While the plots are wonderful period pieces of a young Los Angeles, the characters are richly drawn. Ever wonder where all those tv detectives came from? Right here.

Chandler's short stories are also supurb. My vote for the single best detective short story of all time is Red Wind--there is so much that happens in such a short story. No one should ever die without reading it....."Trouble is my Business" is also excellent....

Is this a complete collection of his short stories? No--There are a few I would have added, even though several of them were "canibalized" (Chandler's phrase) into later novels. The plot of "Bay City Blues" was built into "Lady in the Lake," but I think that story still holds up on its own. An earlier review also mentioned that "The Pencil" is missing. I can't understand why it was left out. "Killer in the Rain" also became "The Big Sleep," but it still has charm. "No Crime in the Mountains" is not included, but that's not much of a loss.

Not all of the stories in this book work--but that's going to be true with any collection. What is convenient with Library of America is the bindings are wonderful, the print font easy to read, the books lie flat, and will last forever. The list prices are a little steep--but not if you consider the amount of literature you're getting for the cost. I've bought this book three times, and have loaned it out--only for it to never return. But that's why I buy books.

One final note--The previous review mentioned that in this edition Johnny Dahlmas was replaced by Phillip Marlowe in "Red Wind." I was certain it was Johnny, and used Amazon's "Look Inside" to confirm--it is. Chandler had a few detectives, that eventually evolved into Marlowe, and each was a little different. I have a very soft spot in my heart for Dahlmas (I'm probably spelling his name wrong, so the soft spot may be in my head), so if the editor x-ed him out, I'd be furious....

Buy this book.

"Nothing made it my business except curiosity. But strictly speaking, I hadn't had any business in a month."(21) For Phillip Marlowe, the irresistibly aloof private detective who stars in Chandler's impressive detective novel, Farewell, My Lovely, crime is not something he seems able or willing to avoid. Hitting the streets of Los Angeles in the midst of the American gambling craze of the 1930's, Marlowe finds himself an inextricable player in a search for knowledge of past and present crimes and criminals.
Though he appears, on the surface, to be little more than a nosy, bumbling "private dick," his successful unraveling of a closely interwoven crowd of crooks proves, as one suspect cop observes, that Marlowe "played...smart....You must got something we wasn't told about." (228) Keeping his cards in his hand for most of the noel, Chandler shows that both he and Marlowe are "smart," leading the reader on a circuitous trail that shakes out only in the novel's final pages.
The story begins with a happenstance encounter between Marlowe and an ex-con called "Moose" Malloy. Marlowe cannot resist pursuing the suspicious-looking hulk of a man and soon finds himself both running after and from a variety of shady characters. In the course of his private investigations, Marlowe survives several near brushes with death, getting "sapped" by thugs near the novel's start, pumped full of opium in a suspicious hospital-like place, and stealthily boarding a closely guarded gambling boat to confront an infamous mobster in the middle of the night. In the end, Marlowe succeeds at untangling the web of murders and crimes that keep him running throughout the novel, but not before giving the reader the run-around as well. Chandler's smart, articulate prose lends itself well to the captivating story and intriguing characters that combine to make this a must-read for fans of detective fiction.

Space prince swap.

John Gordon is rather surprised to be mentally contacted by a man claiming to be from a long, long way in the future, who claims he can swap minds in an experiment with a man from the past such as himself.

When he agrees there are beautiful women to try and fool, Galactic Empires to save, battle fleets to be fought, and atom-pistols to be wielded. Oh, and a super Disruptor weapon to protect from falling into the wrong hands.

Not what your average 20th bloke has to go through, that is for sure, but he gives it his best.

The Star Kings was writen during the golden age of science-fiction, that is, many many years ago. You have to keep this in mind to appreciate the book, otherwise some aspects will seem very cheesy.

The setting in this book (and its sequel), is today be considered a classical space-opera on par with what Star Wars: A New Hope was back in 1979. It is with all of this in mind that I read, and liked, Star Kings. Why? Because despite being very typical of the genre, the author managed to avoid all the clichés I'm weary of and yet his book has those I still appreciate.

Star Kings is the best book I have ever read. It mixes a great space opera and love story through a non-stop adventure over the galaxy. Star Wars is a pale copy of this book but those who liked Star Wars will surely adore Star Kings. Don't miss the sequel "return to stars" !

I originally bought this book when it was published by "Venture" compiled with "Return to the stars"... and its been by my side ever since, i've had it for about 7,8,9 maybe 10 years, cant be certain. When ever im not reading something new, I return to this book. Must of read it a million times by now. I've been trying to find more Edmond Hamilton ever since...

(for those who didnt understand my one-line summary, Claytons made a drink they called "the drink you have when your not having a drink" because it was non-alcoholic, so anything "Claytons" is something you do when your not actually doint it).

I stumbled across The Star Kings shortly after I seriously got into SF, probably when I was about 12. This book blew my mind with its very colourful writing (love the characters' names) and the majestic sweep of the universe it presented. Sure the science is pretty badly dated, but if you can look past that, it's a rip-snorting tale as they say. This book still remains in my top 5, although I can't be sure that's not for sentimental reasons. I searched for about 5 years to find the sequel, Return to the Stars. For those who've read and loved this book, check out the campy movie Starcrash starring Marjoe Gortner next time it comes on late at night - the villian's name is Zarth Arn!