We've all seen the Johnny Depp and Bill Murray versions of Hunter S. Thompson - a larger-than-life madman, swilling booze with one hand and piloting classic cars with the other. But while Hunter's legendary exploits in "Fear and Loathing in Las Vegas," and "Hell's Angels" and his other Gonzo tales are the public side of the man, there were very few people who were there when he let his guard down. Sheriff Bob and Michael Cleverly were there from the beginning of HST's Woody Creek days to the fateful moment three years ago when he signed off for good."The Kitchen Readings" is an intimate portrait of the private Hunter; these guys were there when the documentary cameras stopped rolling. As is the case in many less-infamous homes, Hunter's de facto base was his kitchen - a place where he could see the TV, grab ice from the freezer, and fire off a few rounds of ammunition with equal aplomb. There he would hold court for a never-ending stream of locals, celebrities, friends, lovers, camera crews, children, and fans. Braudis and Cleverly have recreated the reminiscences of all of Hunter's antics throughout his Woody Creek years - from the day he replaced his guard dogs with guard peacocks to the nutty, off-kilter fans who would show up uninvited and meet with a less-than-cordial (and armed) HST to the time the mayor's daughter was accidentally treated to a XXX video in a Kentucky Derby party mix-up to the final homage to Hunter that was a Hollywood-style blowout, replete with his ashes being shot out of a giant Gonzo fist.

Few families are untouched by Alzheimer's disease or a related dementia. Moving accounts of what it is like to care for someone with this disease have already been published, as well as how-to books that offer caregivers advice and information on coping. But this book is the first to provide a comprehensive report of what it is like to have dementia oneself--the subjective experience of living with progressive memory loss.

Each chapter discusses a different aspect of having dementia, from the initial assessment and diagnosis through placement in a nursing home. The discussions are grounded in qualitative research and case studies, which convey the variable and personal nature of the experience. They seek to help clinicians, researchers, students, and caregivers (both professionals and family members) understand the experience of dementia, and thereby to promote better caregiving through a person-centered approach.

Contributors: Kathleen Kahn-Denis, Judson Retirement Community; Casey Durkin, a psychotherapist in Cleveland, Ohio; Jane Gilliard, Dementia Voice, UK; Phyllis Braudy Harris, John Carroll University; John Keady, University of Wales, UK; John Killick, University of Stirling, UK; Rebecca G. Logsdon, University of Washington; Charlie Murphy, University of Stirling, UK; Alison Phinney, University of British Columbia, Canada; Steven R. Sabat, Georgetown University; Dorothy Seman, Alzheimer's Family Care Center, Chicago; Lisa Snyder, University of California, San Diego; Jane Stansell, Alzheimer's Family Care Center, Chicago; Gloria Sterin, Shaker Heights, Ohio; Jon C. Stuckey, Messiah College; Robyn Yale, Consultant to the Alzheimer's Association, San Francisco; Rosalie Young, Wayne State University School of Medicine.

'I could have been a contender, I could have been somebody.' So speaks the haunted former boxer Terry Malloy (Marlon Brando) to his brother Charley (Rod Steiger) in a scene from "On the Waterfront "(Elia Kazan, 1954) that is one of the most famous in all cinema. Set among unionized New York longshoremen, Kazan's film (from a screenplay by Budd Schulberg) recounts Terry's struggle against corruption and his ultimate, hard-won victory.
The marvelous performances of Brando, Steiger and Eva Marie Saint (as well as Karl Malden and Lee J. Cobb), Boris Kaufman's photography and Leonard Bernstein's score all justify the film's fame. But "On the Waterfront "is also notorious, regarded by many as an attempt at justifying the decision on the part of Kazan (and Schulberg) to name names before the House UnAmerican Activities Committee. That controversial decision is still incendiary today (as was evidenced in the furor that surrounded Kazan's Academy Award for Lifetime Achievement in 1999).
With Kazan's death in 2003 and Brando's in 2004, a reappraisal of "On the Waterfront" is timely and necessary. In this definitive study, Leo Braudy tells the complicated story of the film's production. He revisits the facts behind the controversy of Kazan's testimony but, above all, he analyses the elements which contribute to the enduring appeal of "On the Waterfront: " the Method-inspired acting, the music and cinematography, the use of authentic locations and its powerfully symbolic depiction of post-war American values.

In Three Broken Roses Detective Juliet "Jay" Kelly is a woman with a dark past that haunts her to this day, a past she has struggled to keep secret for thirteen years. She's no stranger to violence, but when the butchered corpse of a Jane Doe is found in a trash pile during a rain storm Detective Kelly and her partner Dan Martinez are put on the case. With the case baring strong ties to two previous murders, their only clues are three broken roses that were recovered from the three crime scenes. However, nothing is as it appears. As Kelly digs deeper and deeper into the case, her secrets from the past threaten to be brought to light as the hunter becomes the hunted when the Killer sets his sights on Kelly herself.

"From Chivalry to Terrorism is a brilliant exploration of the conscious and unconscious ways in which European and American cultures have established an essential role for military and warrior virtue in defining masculinity.
Beginning with the world of honor in the chivalric Middle Ages and ending in our age of global terrorism and limited war, Leo Braudy shows how perceptions and images of masculinity have changed in relation to major wars, advances in military technology, mutations in the idea of the state and how it wages war, and shifting attitudes toward both sexuality and citizenship.
Gathering insights from history, literature, and art--as well as from facts and fantasies about male sexuality--Braudy focuses on pivotal developments such as the revolution caused by gunpowder in the fifteenth century, by the mass armies of the eighteenth century, by the fears of national degeneracy in the nineteenth century, and by weapons of mass destruction in the twentieth century. He also examines less obvious topics such as the growth of sports and gymnastics, the impact of the American West on the national and international imagination, and the efforts of the promoters of a "civilized" male identity to distinguish it from the savage barbarian on the one hand and from women and minority forms of masculinity on the other.
Finally, he makes clear that the view of a renewed warrior masculinity is at the heart of the propaganda of the Islamic terrorists, as it was for Hitler and Mussolini. War is carried on in the name of a warrior past when men were truly men. The enemy is the West, where gender is a continuum rather than the absolute set of differences between male and female thatthe warrior sensibility requires. The war against terrorism is thus less a literal war about territory and resources than it is a symbolic war about how men should be and behave.
In writing this unique history of masculinity, Braudy discusses both real and imagined characters. Among them are Don Quixote, Henry V, Oliver Cromwell, Don Juan, Frederick the Great, Napoleon, Custer, T. E. Lawrence, Osama bin Laden, and the heroes of Stephen Crane and Ernest Hemingway.
At its heart, "From Chivalry to Terrorism is about the metamorphosis of masculinity; it is a powerful and persuasive argument against the assumption that all sexual behavior is innate. Countering the sociobiological emphasis on the fixity of human nature, it stresses human changeability and responsiveness to circumstances.

"From the Hardcover edition.

When Kathy Boudin was arrested in 1981 after a botched armed robbery and shootout that left a Brinks guard and two policemen dead, she ended a decade living underground as part of the radical Weathermen underground; she would spend the next 22 years in Bedford Hills prison. In Family Circle, " "Boudin's former classmate Susan Braudy vividly re-creates the radicalization of this intelligent, privileged young woman who came from one of the most prominent liberal intellectual families in America. She illuminates Boudin's relationship with her parents --and particularly with her father Leonard, a famous leftist lawyer--and shows how Kathy, swept up in the ferment of the late 1960s, moved further and further from the Old Left ideals they embodied.
Based on extensive interviews, court documents, and Boudin family papers, Family Circle is both a rich biography of a family and a intimate window into a turbulent and fascinating time.

A New York journalist is pulled into the drama of Hollywood as she investigates the life and death of actor Sal Mineo in this historical fiction by Susan Braudy. In the carport of his West Hollywood apartment, American actor Sal Mineo was stabbed in the heart by a mugger who fled the scene, presumably acting under homosexual motivation. As she searches to fill in the gaps of his life and murder, Sara Martin, a New York journalist, is drawn into the glittering, highly charged homosexual milieu of Hollywood in this based-on-fact novel.

"Remarkably ambitious . . . an impressive tour de force."
--Washington Post Book World

For Alexander the Great, fame meant accomplishing what no mortal had ever accomplished before. For Julius Caesar, personal glory was indistinguishable from that of Rome. The early Christians devalued public recognition, believing that the only true audience was God. And Marilyn Monroe owed much of her fame to the fragility that led to self-destruction. These are only some of the dozens of figures that populate Leo Braudy's panoramic history of fame, a book that tells us as much about vast cultural changes as it does about the men and women who at different times captured their societies' regard.  

Spanning thousands of years and fields ranging from politics to literature and mass media, The Frenzy of Renown explores the unfolding relationship between the famous and their audiences, between fame and the representations that make it possible. Hailed as a landmark at its original publication and now reissued with a new Afterword covering the last tumultuous decade, here is a major work that provides our celebrity-obsessed, post-historical society with a usable past.


"Expansive . . . Braudy excels at rocketing a general point into the air with the fuel of drama. "
--Harper's

This title was originally published in 1998. Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well. The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1998.

This title was originally published in 1998. Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well. The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1998.

An award-winning scholar and author charts four hundred years of monsters and how they reflect the culture that created them Leo Braudy, a finalist for both the National Book Award and the National Book Critics Circle Award, has won accolades for revealing the complex and constantly shifting history behind seemingly unchanging ideas of fame, war, and masculinity. Continuing his interest in the history of emotion, this book explores how fear has been shaped into images of monsters and monstrosity. From the Protestant Reformation to contemporary horror films and fiction, he explores four major types: the monster from nature (King Kong), the created monster (Frankenstein), the monster from within (Mr. Hyde), and the monster from the past (Dracula). Drawing upon deep historical and literary research, Braudy discusses the lasting presence of fearful imaginings in an age of scientific progress, viewing the detective genre as a rational riposte to the irrational world of the monstrous. Haunted is a compelling and incisive work by a writer at the height of his powers.