Literary Studies
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Archived News
Archived News 2007-2008 News articles from 2007-2008 Table of Contents Alumnae Cited for Accomplishments and Sage Salzer ’96................................................. 17 Service................................................................. 5 Porochista Khakpour ’00.................................. 18 Laura Hercher, Human Genetics Faculty............ 7 Marylou Berg ’92 ............................................. 18 Lorayne Carbon, Director of the Early Childhood Meema Spadola ’92.......................................... 18 Center.................................................................. 7 Warren Green ................................................... 18 Hunter Kaczorowski ’07..................................... 7 Debra Winger ................................................... 19 Sara Rudner, Director of the Graduate Program in Dance .............................................................. 7 Melvin Bukiet, Writing Faculty ....................... 19 Rahm Emanuel ’81 ............................................. 8 Anita Brown, Music Faculty ............................ 19 Mikal Shapiro...................................................... 8 Sara Rudner, Dance Faculty ............................. 19 Joan Gill Blank ’49 ............................................. 8 Victoria Hofmo ’81 .......................................... 20 Wayne Sanders, Voice Faculty........................... 8 Students Arrive on Campus.............................. 21 Desi Shelton-Seck MFA ’04............................... 9 Norman -
Classic Noir Pdf, Epub, Ebook
LA CONFIDENTIAL: CLASSIC NOIR PDF, EPUB, EBOOK James Ellroy | 496 pages | 02 Jun 2011 | Cornerstone | 9780099537885 | English | London, United Kingdom La Confidential: Classic Noir PDF Book Both work for Pierce Patchett, whose Fleur-de-Lis service runs prostitutes altered by plastic surgery to resemble film stars. It's paradise on Earth Best Sound. And while Mickey Cohen was certainly a major player in the LA underworld, the bigger, though less famous, boss was Jack Dragna , who took over mob business after the murder of Bugsy Siegel in Confidential is a film-noir-inspired mystery in vivid colour. Exclusive Features. When for example, did film noir evolve into neo-noir, and what exactly constitutes neo-noir? The film's look suggests how deep the tradition of police corruption runs. The tortured relationship between the ambitious straight-arrow Det. The title refers to the s scandal magazine Confidential , portrayed in the film as Hush-Hush. Confidential Milchan was against casting "two Australians" in the American period piece Pearce wryly noted in a later interview that while he and Crowe grew up in Australia, he is British by birth, while Crowe is a New Zealander. Director Vincente Minnelli. For Myers, that meant working one-on-one with actors to find looks that both evoked the era and allowed audiences to form a meaningful connection with the characters. One of the film's backers, Peter Dennett, was worried about the lack of established stars in the lead roles, but supported Hanson's casting decisions, and the director had the confidence also to recruit Kevin Spacey , Kim Basinger and Danny DeVito. -
Donations to the Library 2000S
DONATIONS TO THE LIDRARY 277 DONATIONS TO THE LIBRARY Michael Andrews (BA 1960) The birth of Europe, 1991; The flight of the condor, 1982; The life that lives on Man, 1977 13 May 1999 - 12 May 2000 Anthony Avis (BA 1949) The Librarian is always delighted to hear from any member of the Gaywood past: some historical notes, 1999; The journey: reflective essays, College considering a gift of books, manuscripts, maps or photographs 1999 to the College Library. Brigadier David Baines Abdus Salam International Centre Documents relating to the army career of Alan Menzies Hiller A. M. Hamende (ed.), Tribute to Abdus Salam (Abdus Salam Memorial (matric. 1913), who was killed in action near Arras in May 1915 meeting, 19-22 Nov. 1997), 1999 D.M. P. Barrere (BA 1966) David Ainscough Georges Bernanos, 'Notes pour ses conferences' (MS), n. d. Chambers' guide to the legal profession 1999-2000, 1999 P. J. Toulet, La jeune fille verte, 1918 Robert Ganzo, Histoire avant Sumer, 1963; L'oeuvre poetique, 1956 Dr Alexander G. A.) Romain Rolland, De Jean Christophe a Colas Breugnon: pages de journal, Automobile Association, Ordnance Survey illustrated atlas of Victorian 1946; La Montespan: drame en trois actes, 1904 and Edwardian Britain, 1991 Ann MacSween and Mick Sharp, Prehistoric Scotland, 1989 Martyn Barrett (BA 1973) Antonio Pardo, The world of ancient Spain, 1976 Martyn Barrett (ed.), The development of language, 1999 Edith Mary Wightrnan, Galla Belgica, 1985 Gerard Nicolini, The ancient Spaniards, 1974 Octavian Basca Herman Ramm, The Parisi, 1978 Ion Purcaru and Octavian Basca, Oameni, idei, fapte din istoria J. -
Bridging the Voices of Hard-Boiled Detective and Noir Crime Fiction
Christopher Mallon TEXT Vol 19 No 2 Swinburne University of Technology Christopher Mallon Crossing shadows: Bridging the voices of hard-boiled detective and noir crime fiction Abstract This paper discusses the notion of Voice. It attempts to articulate the nature of voice in hard-boiled detective fiction and noir crime fiction. In doing so, it examines discusses how these narrative styles, particularly found within private eye novels, explores aspects of the subjectivity as the narrator- investigator; and, thus crossing and bridging a cynical, hard-boiled style and an alienated, reflective voice within a noir world. Keywords: hard-boiled detective fiction, noir fiction, voice, authenticity Introduction In crime fiction, voice is an integral aspect of the narrative. While plot, characters, and setting are, of course, also instrumental in providing a sense of authenticity to the text, voice brings a sense of verisimilitude and truth to the fiction the author employs. Thus, this paper discusses the nature of voice within the tradition of the crime fiction subgenres of noir and hard-boiled detective literature. In doing so, it examines how voice positions the protagonist; his subjectivity as the narrator-investigator; and, the nature of the hardboiled voice within a noir world. Establishing authenticity The artistic, literary, and aesthetic movement of Modernism, during the late 19th and early 20th Centuries, describes a consciousness of despair, disorder, and anarchy, through ‘the intellectual conventions of plight, alienation, and nihilism’ -
You Mentioned That Some Scenes from James Ellroy's LA CONFIDENTIAL
89 FAQ 6 6.1 Q: You mentioned that some scenes from James Ellroy’s L.A. CONFIDENTIAL were filmed inside the Hodel/Franklin House. I didn’t see any. Which ones? Yes, two separate scenes were filmed inside the Franklin House, but if you blink you miss them. George Hodel 1949 David Strathairn as “Pierce Patchett” 90 L.A. CONFIDENTIAL FRANKLIN HOUSE SCENE 1 Scene between Kevin Spacey and James Cromwell (Capt. Dudley Smith) This 1996-7 scene filmed in Hodel-Franklin House kitchen five years before residential interior renovation in 2002 L.A. CONFIDENTIAL FRANKLIN HOUSE SCENE 2 Scene at Franklin House with partygoers (Hookers and tricks) This scene filmed in Hodel-Franklin House living-room in 1996-7 91 Kevin Spacey as detective Sgt. Jack Vincennes holding Pierce Patchett’s Fleur dy Lis business card George Hodel’s “Whatever You Desire” Fleur dy Lis photo album As in CHINATOWN, there are some fascinating coincidences related to the real life George Hodel and the characters in the fictional Ellroy novel, masterfully adapted to film in 1997 by director, Curtis Hanson. First is the character, Pierce Patchett, who not only resembles George Hodel in physical appearance and voice, but is presented in the film as a powerful L.A. behind-the-scenes shadow figure, running a vice operation and working with corrupt cops. Pimp Patchett has high class prostitutes going to cocktail parties and entertaining wealthy and connected businessmen AT THE FRANKLIN HOUSE. (See above clips) Incredibly, this is something that Dr. George Hodel did in real life, at the same location, in the very same room! Patchett’s logo is the Fluer dy Lis, which we see on George Hodel’s private, personal album of loved ones. -
James Ellroy Demon Dog of Crime Fiction
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more popular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and over- worked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fic- tion. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Published titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME -
Nostalgic Masculinity: Homosocial Desire and Homosexual Panic In
Nostalgic Masculinity: Homosocial Desire and Homosexual Panic in James Ellroy’s This Storm Nathan Ashman, University of East Anglia Abstract: The second volume in James Ellroy’s ‘Second LA Quartet’, This Storm (2019) offers a complex miscellany of war profiteering, fifth column sabotage, and institutional corruption, all of which is starkly projected against the sobering backdrop of the internment of Japanese- Americans. Whilst presenting Ellroy’s most diverse assemblage of characters to date, the narrative is, nonetheless, principally centred on the intersecting bonds between men. Although the prevalence of destructive masculine authority in Ellroy’s works has been widely discussed, what has often been overlooked are the specifically ‘homosocial’ dimensions of these relationships. Whilst these homosocial bonds are frequently energised and solidified by homophobic violence (both physical and rhetorical), this paper will argue that they are simultaneously wrought by ‘homosexual panic’; the anxiety deriving for the indeterminate boundaries between homosocial and homosexual desire. This panic is expressed most profoundly in This Storm in the form of corrupt policeman Dudley Smith. Haunted by a repressed homosexual encounter, Smith’s paranoid behaviour and increasingly punitive violence derives from his inability to establish clear boundaries between his intense homosocial bonds and latent homosexual desires. Thus, whilst Ellroy’s ‘nostalgic masculinity’ attempts to circumscribe the dimensions and inviolability of male identity, the paranoia and violence that underscores the various machinations of Ellroy’s crooked cops ultimately exposes the fragility of such constructions. Key Words: James Ellroy, Masculinity, Homosocial, Panic, Homosexual The punitive brutality that underlies James Ellroy’s codifications of masculinity has long been a cause of critical contention. -
Classes Fall 2017
writing classes Fall 2017 hugohouse.org WHAT'S NEW FOR FALL QUARTER More yearlong classes Fall quarter means the start of yearlong classes, and we've added another offering to this popular and effective workshop model. In addition to classes in Memoir, Prose, Young Adult, and Poetry, we now have a Short Story yearlong class. If you're eager to develop a strong and steady writing practice, as well as become part of a tightly knit cohort of writers, then a yearlong class is for you—whether you're early in the writ- ing process or already have a rough draft. These sessions fill up quickly so register soon! For a list of yearlong offerings, see pages 6 and 7. Tiered classes In addition to yearlong classes, Hugo House now offers a track of classes in Poetry, Fiction, and Creative Nonfiction to help you feel confident in progressing through your writing with the appropriate tools, skills, and an understanding of the diverse voices at work in each genre. You may self-select into classes based on where you feel comfortable in a particular genre, and you are welcome to take classes as many times as you would like. For a list of workshops, flip to page 4. Introductory classes In partnership with Seattle Public Library, we're offering free introductory classes through the Seattle Writes program. Taught by Hugo House instructors, these one-session classes take place at various branches around the city. This fall, we're offering: The Art of the Political Essay with Sonora Jha, All-Accepting: Accessing Hinduism in Your Writing with Shankar Narayan, Jump-Starting Your Story with Susan V. -
Mother Night EMILY GORDON
Mother Night EMILY GORDON posed, to hide. Ellroy’s father, he Writes, MY DRRR PLRCES: An L.R. Crime Memoir. “never told me that sitting in the dark was By James Ellroy. a strange thing to do.” Ellroy spent his life Knopf. 351 pp. $25. doing exactly that. Well known for genre-mixing and efore dhwn on June 22, 1958, James -bending, Ellroy here makes his biggest Ellroy’s mother, Jean, a IC a Geneva leap yet: atrue-crime detective story, an OdeIia Hilliker, was raped, strangled to L.A.’ social history and a kind of romance. death and dumped on an empty road The result is a twisted literary memoir, the in El Monte, California. Ellroy was 10. white-hot spinning of a loner and autodi- what does it mean for a best-selling crime dact. “My father was a liar. My mother was novelist when his mother is a case-a num- a fabricator”; being a Writer, Ellroy’s a liar ber filed in a dusty archive labeled “un- too. For years he set fictional characters in solved”? My Dark Places, a memoir as the historical past, then re-wrote history. much about Ellroy’ s evolution as a writer Confined to the forms of real life, cold facts as it is about his mother and the search for and un-outlinable characters, in My Dark her murderer, takes the sustained anguish Places Ellroy is more powerful than ever. of that experience and builds a monument. Nearly all narratives of our parents It’s as The Redhead that Ellroy imagined his are patchy; we spend our lives assembling connections and explanations. -
TGC September 2018 Rights Guide
foreign rights September 2018 www.thegernertco.com JOHN GRISHAM #1 New York Times bestseller • Published in 40 languages • 375+ million books in print 23 October 2018 #1 New York Times bestselling author John Grisham returns to Clanton, Mississippi to tell the story of an unthinkable murder, the bizarre trial that follows it, and its profound and lasting effect on the people of Ford County. October 1946, Clanton, Mississippi Pete Banning was Clanton, Mississippi's favorite son - a decorated World War II hero, the patriarch of a prominent family, a farmer, father, neighbor, and a faithful member of the Methodist church. Then one cool October morning he rose early, drove into town, walked into the church, and calmly shot and killed his pastor and friend, the Reverend Dexter Bell. As if the murder weren't shocking enough, it was even more baffling that Pete's only statement about it - to the sheriff, to his lawyers, to the judge, to the jury, and to his family was: "I have nothing to say." He was not afraid of death and was willing to take his motive to the grave. In a major novel unlike anything he has written before, John Grisham takes us on an incredible journey, from the Jim Crow South to the jungles of the Philippines during World War II; from an insane asylum filled with secrets to the Clanton courtroom where Pete's defense attorney tries desperately to save him. Reminiscent of the finest tradition of Southern Gothic storytelling, The Reckoning would not be complete without Grisham's signature layers of legal suspense, and he delivers on every page. -
The Archive in James Ellroy's Fiction
disClosure: A Journal of Social Theory Volume 27 Archives Article 21 7-2018 A Reckless Verisimilitude: The Archive in James Ellroy’s Fiction Bradley J. Wiles American Public University System DOI: https://doi.org/10.13023/disclosure.27.18 Follow this and additional works at: https://uknowledge.uky.edu/disclosure Part of the Archival Science Commons, and the English Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License. Recommended Citation Wiles, Bradley J. (2018) "A Reckless Verisimilitude: The Archive in James Ellroy’s Fiction," disClosure: A Journal of Social Theory: Vol. 27 , Article 21. DOI: https://doi.org/10.13023/disclosure.27.18 Available at: https://uknowledge.uky.edu/disclosure/vol27/iss1/21 This Article is brought to you for free and open access by disClosure: A Journal of Social Theory. Questions about the journal can be sent to [email protected] disClosure: A Journal of Social Theory Vol. 27, July 2018 A Reckless Verisimilitude: The Archive in James Ellroy’s Fiction Bradley J. Wiles AMERICAN PUBLIC UNIVERSITY SYSTEM The archive as both plot element and narrative presentation factors significantly into the work of James Ellroy’s novels in the L.A. Quartet and USA Underworld Trilogy series. This article examines the important role of the archive as a source of information and evidence that Ellroy’s characters utilize in their attempts at either maintaining or attacking the status quo. Through these novels, Ellroy conveys the potential power archives wield over the trajectory of history and our understanding of it by demonstrating how the historical record is often shaped in favor of the powerful. -
Our 2019 Mentorship Booklet
Table of Contents 4 About the Program 6 Application Details 8 2019 Staf 14 2019 Mentors 48 Testimonials 52 Student News 58 2019 Partners 60 Student Alumni 65 About the Journal 2 2019 Adroit Summer Mentorship Program | 3 About the Program Now in its seventh year, The Adroit Journal’s Summer Mentorship Program is an entirely free and online program that pairs experienced writers with high school and secondary students (including graduating seniors) interested in exploring about the creative writing processes of drafting, redrafting and editing. This year, the program will cater to the genres of poetry, fction, and nonfction. The aim of the mentorship program is not formalized instruction, but rather an individualized, fexible, and often informal correspondence. Poetry students will share weekly work with mentors and peers, while fction and nonfction students will share biweekly work with mentors and peers. The 2019 Adroit Journal Summer Mentorship Program will begin on June 23rd, and will conclude on August 3rd. Applications for the 2019 Adroit Journal Summer Mentorship Program will be open via our Submittable server from March 15, 2019 until April 15, 2019 at 11:59pm Pacifc Standard Time (PST). ABOUT THE We are very proud of our alumni. Students have subsequently been recognized through the National YoungArts Foundation & United States Presidential Scholar in the Arts designation, the National Scholastic Art & Writing Awards, and the Foyle Young Poet of the Year Awards, among a plethora of other recognition avenues. Over 65% of mentorship graduates have matriculated at Ivy League universities, Stanford, UChicago, Cambridge, or Oxford. Click here to view the mentorship Program alumni college list.