This book invites the reader to think about collaborative research differently. Using the concepts of ‘letting go’ (the recognition that research is always in a state of becoming) and 'poetics’ (using an approach that might interrupt and remake the conventions of research), it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring and representing ideas. The book's chapters are interwoven with ‘Interludes’ which provide alternative forms to think with and another vantage point from which to regard phenomena, pose a question and seek insights or openings for further inquiry, rather than answers. Altogether, the book celebrates collaboration in complex, exploratory, literary and artistic ways within university and community research.

This book invites the reader to think about collaborative research differently. Using the concepts of 'letting go' (the recognition that research is always in a state of becoming) and 'poetics' (using an approach that might interrupt and remake the conventions of research), it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring and representing ideas. The book's chapters are interwoven with 'Interludes' which provide alternative forms to think with and another vantage point from which to regard phenomena, pose a question and seek insights or openings for further inquiry, rather than answers. Altogether, the book celebrates collaboration in complex, exploratory, literary and artistic ways within university and community research.

Lovers and adulterers, heroes and harlots, gossips and thieves, and maybe the occasional ghost (and certainly skeletons in the closets), the Miller and Baker families had their share, and Tom Miller, writing as Tom Canford, is willing to tell all. This memoir, initially written for distribution to family members, had been intended for publication, but the author did not get around to editing it before his death. His friend Jonathan May has managed that feat in part as a gift to Miller family members as well as to all readers intigued by the tale of a boy growing up and life in Southern Illinois and Las Cruces, New Mexico in the 1920s and 1930s (with family tales tall and otherwise taking it back further in time and the author's own musings bringing it well into the early 2000s). Since the author had always thought of himself primarily as a lyricist, a selection from his musical plays and his occasional lyrics appears at the end. The descriptions of life in Southern Illinois, particularly Carrier Mills, in the early part of the last century, and in Las Cruces, New Mexico and El Paso, Texas, in the 1930s and later will be of interest especially to people who know those areas and their inhabitants and also to anyone curious about family life and social life of the times. Readers who have met the author through his autobiographical World War II novel Boy at Sea and through A Fever of the Mad, his memoir about working as a publicist on movies with special emphasis on his experiences on Elaine May's Mikey and Nicky and Francis Coppola's The Cotton Club will be pleased to see this earlier version of the Tom they have come to know. His late sister Norma Miller was invaluable to him in providing stories from the past and reminders and refreshers on tales he remembered. Quotations from her diaries and from letters written by various family members and friends add to the pleasure of the work.

Movie publicist Tom Miller, writing under the name Tom Canford, tells of his experience working on films such as Francis Coppola's "The Cotton Club" and Elaine May's "Mikey and Nicky." He provides intriguing insight into the process of movie-making from a privileged position deep inside the productions and also sharp portraits of directors, actors both major and minor, and behind-the-scenes people involved in bringing their films to you. In addition to those mentioned in the subtitle of the work, many other artists and film personnel make their appearance: Robert Mitchum, Paul Newman, Diane Lane, Robert DeNiro, Gregory Hines, Bruce Dern, Lonette McKee, Barrie Osborne, Milena Canonero, Nicolas Cage, Robert Evans, Bobby Zarem, Julian Beck, Gwen Verdon, Herb Ritts, a very young Sophia Coppola. Editor Jonathan May in his introduction and afterword provides further information about the author.

Jake loves his friends and his community. Eric kills. Eric secretly watches Jake and those he loves. No one near to Jake is safe, and the tension and the body count rise. Set in rural Alabama, "A Howling in the Night" is a psychological thriller with nods to classics of horror, the bastard child of Eudora Welty and Stephen King.