Though a highly regarded American writer, John Steinbeck's appeal and influence extend far beyond North American borders. In John Steinbeck's Global Dimensions, editors Kyoko Ariki, Luchen Li, and Scott Pugh have assembled some of the best in current critical analysis of the Nobel Prize-winner's work. A compilation of papers by scholars from the U.S., Japan, China, Korea, India, and Slovenia, this work provides a window into the critical reception of Steinbeck's works around the globe. In doing so, this volume incorporates diverse approaches, including cultural studies, film analysis, gender studies, and most especially comparative studies of sociopolitical, philosophical, and religious motifs in Steinbeck's fiction. This collection includes four parts, each considering a broad dimension of Steinbeck's work. The cultural and social dimensions of his fiction are considered with essays by prominent scholars on moral philosophy, dysfunctional families, Ayn Rand's possible influence, and other topics. The second section focuses on aesthetic dimensions, including considerations of Steinbeck's theatrical vision and postmodern aspects of his work. The third section considers reader reception issues and in particular surveys Islamic, Buddhist, and Indian philosophy echoed in the author's works. The final section of the book is an essay considering the global possibilities for future Steinbeck studies. A convenient casebook of the latest in Steinbeck studies, this volume documents the breadth of current international interest in his fiction, his films, and his philosophy. The included essays are particularly useful for showing critical readings from various cultural standpoints, readings that often stand in sharp, interesting contrast to each other. Overall, this collection of essays gives an unmatched sense of how John Steinbeck's work continues to reach readers and scholars around the world.

Drama thriller following a couple on two different scenarios on Independence Day in New York. Bobby (Joseph Gordon-Levitt) and Kate (Lynn Collins) are indecisive about whether to spend the holiday together in the city or whether to go to Kate's family home. They flip a coin, leaving it to chance to choose for them but both possible outcomes play out. One has them dealing with family drama and the decision of whether to reveal Kate's pregnancy, while the other sees them being chased around Manhattan after finding a mysterious mobile phone.

Before Katrina, Modine Gunch was Everywoman who fought with pantyhose until they went out of style, shoved dirty dishes into the oven when her mother-in-law was coming up the walk, shudderingly oversaw school science projects involving roaches, and insisted that a dish that didn't survive the dishwasher didn't deserve to live. Her family's adventures have tickled the funnybones of New Orleans Magazine readers for 25 years and have appeared in two books: Never Heave your Bosom in a Front-Hook Bra and Never Sleep With a Fat Man in July. But in 2005, home was where the levees broke. The Gunch family's houses, strung comfortably close together along one block, were among those washed away. So the Gunches found out that they were double-wide and their FEMA trailers weren't; "Don't come knockin' if this trailer's rockin'" meant somebody was stretched out in the vibrating recliner; and the talent God gave Modine was for cleaning out putrid refrigerators. But five years later, the Gunches are still standing -- when they're not second-lining.