! A dead child, a runaway slave, a terrible secret--these are ! the cent ral concerns of Toni Morrison's Pulitzer Prize-winning Beloved. Morrison, a Nobel laureate, has written many fine novels, including Song of Solomon, The Bluest Eye, and Paradise--but Beloved is arguably her best. To modern readers, antebellum slavery is a subject so familiar that it is almost impossible to render its horrors in a way that seems neither clichéd nor melodramatic. Rapes, beatings, murders, and mutilations are recounted here, but they belong to characters so precisely drawn that the tragedy remains individual, terrifying to us because it is terrifying to the sufferer. And Morrison is master of the telling detail: in the bit, for example, a punishing piece of headgear used to discipline recalcitrant slaves, she manages to encapsulate all of slavery's many cruelties into one apt symbol--a device that deprives its wearer of speech. "Days after it was taken out, goose fat was rubbed on the corners o! f the mouth but nothing to soothe the tongue or take the wildness out of the eye." Most importantly, the language here, while often lyrical, is never overheated. Even as she recalls the cruelties visited upon her while a slave, Sethe is evocative without being overemotional: "Add my husband to it, watching, above me in the loft--hiding close by--the one place he thought no one would look for him, looking down on what I couldn't look at at all. And not stopping them--looking and letting it happen.... And if he was that broken then, then he is also and certainly dead now." Even the supernatural is treated as an ordinary fact of life: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby," comments Sethe's mother-in-law.
Beloved is a dense, complex novel that yields up its secrets one by one. As Morrison takes us deeper into Sethe's history and her memories, the horrifying circumstances of ! her baby's death start to make terrible sense. And as past me! ets pres ent in the shape of a mysterious young woman about the same age as Sethe's daughter would have been, the narrative builds inexorably to its powerful, painful conclusion. Beloved may well be the defining novel of slavery in America, the one that all others will be measured by. --Alix WilberShows some signs of wear, and may have some markings on the inside. 100% Money Back Guarantee.Shows some signs of wear, and may have some markings on the inside. 100% Money Back Guarantee.Oprah Winfrey (THE COLOR PURPLE) and Danny Glover (LETHAL WEAPON IV, THE ROYAL TENENBAUMS) play the unforgettable lead roles in a powerful, widely acclaimed cinematic triumph from Jonathan Demme -- the Academy Award(R)-winning director of THE SILENCE OF THE LAMBS. On a difficult journey to find freedom, Sethe (Winfrey) is constantly confronted by the secrets that have haunted her for years. Then, an old friend from out of her past (Glover) unexpectedly reenters her life. With his ! help, Sethe may finally be able to rediscover who she is and regain her lost sense of hope. Also featuring outstanding performances from Thandie Newton (GRIDLOCK'D) and Lisa Gay Hamilton (TV's THE PRACTICE) -- you'll agree with critics everywhere who've hailed this landmark adaptation of Toni Morrison's Pulitzer Prize-winning novel as one of the year's finest films!This layered film, a labor of love from director Jonathan Demme and star Oprah Winfrey, covers a lot of turf in its nearly three-hour running time. Part slavery fable, part mother-daughter tale, part ghost story, Beloved demands an audience's full attention from its dramatic, slightly bewildering opening, when a family dog comes down on the wrong side of some angry, unseen force. But Demme and his talented cast provide an unforgettable payoff for those who surrender.
The film traces the life of Sethe (played in her middle years by Winfrey), a former slave who has rebuilt what seems to be a peaceful, p! roductive life in Ohio. Yet through chilling, sparing use of f! lashback , Demme slowly unveils, as does the Toni Morrison masterpiece on which the film is based, the horrors of Sethe's former life, and the terrible event that led to the haunting of Sethe's home.
While the horrors of slavery and the bloody event in Sethe's family leave undeniable impressions, the film's brilliance is also evidenced in smaller, equally satisfying ways. Rachel Portman's spiritual-influenced score is as uplifting as it is haunting, and the glimpses of the post-slavery African American world--as with a simple family outing to a local carnival, or a ladies' sewing-and-gospel circle--make this a treat for the intellect as well as the heart. The members of the cast, especially Kimberly Elise as Sethe's struggling daughter and Thandie Newton as the mysterious title character, are supremely affecting. --Anne Hurley
As Good Eats enjoys its 14th season on the Food Network, its popularity continues unabated. Fans can’t get enough of Alton Brown’s wildly inventive, science-geeky, food-loving spirit. It’s no wonder, then, that the first two volumes in STC’s Good Eats series were New York Times bestsellers.
Like Volumes 1 and 2, Good Eats 3: The Later Years packs a bounty of information and entertainment between its covers. More than 200 recipes are accompanied by hundreds of photographs, drawings, and stills from the show, as well as lots of science-of-food facts, cooking tips, food trivia, behind-the-scenes glimpsesâ€"and bonus sock puppet instructions! In chapters devoted! to everything from pomegranates to pretzels, mincemeat to molasses, Alton delivers delicious recipes along with fascinating background in a book that’s as fun to read as it is to cook from. Good Eats 3 will be a must-have addition to the bookshelves and kitchen counters of Alton lovers everywhere.
Praise for Good Eats 3: The Later Years:
“A victory lapâ€Â
â€"Chicago Tribune
“The hefty book is filled with health information and tips on how to become a better home cook, all told in the breezy style that made Alton Brown’s show so accessible and fun. Plus there is a pattern and stickers for making sock puppets. She was wonderful, but Julia Child never taught you how to make a sock puppet, did she?â€
 â€"Oregonian
“Alton’s cookbooks are non-traditional to say the least. In addition to great recipes, they’re loaded with humor, science, and! great tips on selecting ingredients.â€
â€"Northeast Fl! avor magazine
“Much like Good Eats the show, the book can carry many labelsâ€"or, more to the point, defy labels altogether.â€
â€"The Record
“His best yet.†â€"LAWeekly.com
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But shocking, intensely dramatized events precipitate Silk's crisis. He remarks of two students who never showed up for class, "Do they exist or are they spooks?" They turn out to be black, and lodge a bogus charge of racism exploited by his enemies. Then, at 71, Viagra catapults Silk into "the perpetual state of emergency that is sexual intoxication," and he ignites an affair with an illiterate janitor, Faunia Farley, 34. She's got a sharp sensibility, "the laugh of a barmaid who keeps a baseball bat at her feet in case of trouble," and a melancholy voluptuousness. "I'm back in the tornado," Silk exults. His campus persecutors burn him for it--and his main betrayer is Delphine Roux.
In a short space, it's tough to convey the gale-force quality of Silk's rants, or the odd effect of Zuckerman's narration, alternately retrospective and torrentially in the moment. The flashbacks to Silk's youth in New Jersey are just as important as his turbulent forced r! etirement, because it turns out that for his entire adult life, Silk has been covering up the fact that he is a black man. (If this seems implausible, consider that the famous New York Times book critic Anatole Broyard did the same thing.) Young Silk rejects both the racism that bars him from Woolworth's counter and the Negro solidarity of Howard University. "Neither the they of Woolworth's nor the we of Howard" is for Coleman Silk. "Instead the raw I with all its agility. Self-discovery--that was the punch to the labonz.... Self-knowledge but concealed. What is as powerful as that?"
Silk's contradictions power a great Philip Roth novel, but he's not the only character who packs a punch. Faunia, brutally abused by her Vietnam vet husband (a sketchy guy who seems to have wandered in from a lesser Russell Banks novel), scarred by the death of her kids, is one of Roth's best female characters ever. The self-serving Delphine Roux ! is intriguingly (and convincingly) nutty, and any number of m! inor cha racters pop in, mouth off, kick ass, and vanish, leaving a vivid sense of human passion and perversity behind. You might call it a stain. --Tim Appelo
It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town, an aging classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about Silk would have astonished his most virulent accuser. Coleman Silk has a secret. But it's not the secret of his affair, at seventy-one, with Faunia Farley, a woman half his age with a savagely wrecked past - a part-time farmhand and a janitor at the college where, until recently, he was the powerful dean of faculty. And it's not the secret of Coleman's alleged racism, which provoked the college witch-hunt that cost him his job and, to his mind, killed his wife. Nor is it the secret of misogyny, despite the best efforts o! f his ambitious young colleague, Professor Delphine Roux, to expose him as a fiend. Coleman's secret has been kept for fifty years: from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman, who sets out to understand how this eminent, upright man, esteemed as an educator for nearly all his life, had fabricated his identity and how that cannily controlled life came unraveled. Set in 1990s America, where conflicting moralities and ideological divisions are made manifest through public denunciation and rituals of purification, The Human Stain concludes Philip Roth's eloquent trilogy of postwar American lives that are as tragically determined by the nation's fate as by the "human stain" that so ineradicably marks human nature. This harrowing, deeply compassionate, and completely absorbing novel is a magnificent successor to his Vietnam-era novel, American Pastoral, and his McCarthy-era novel, I MARRIED A COMMUNIST.
Athena Colle! ge was snoozing complacently in the Berkshires until Coleman ! Silk--fo rmerly "Silky Silk," undefeated welterweight pro boxer--strode in and shook the place awake. This faculty dean sacked the deadwood, made lots of hot new hires, including Yale-spawned literary-theory wunderkind Delphine Roux, and pissed off so many people for so many decades that now, in 1998, they've all turned on him. Silk's character assassination is partly owing to what the novel's narrator, Nathan Zuckerman, calls "the Devil of the Little Place--the gossip, the jealousy, the acrimony, the boredom, the lies."But shocking, intensely dramatized events precipitate Silk's crisis. He remarks of two students who never showed up for class, "Do they exist or are they spooks?" They turn out to be black, and lodge a bogus charge of racism exploited by his enemies. Then, at 71, Viagra catapults Silk into "the perpetual state of emergency that is sexual intoxication," and he ignites an affair with an illiterate janitor, Faunia Farley, 34. She's got a sharp sensibi! lity, "the laugh of a barmaid who keeps a baseball bat at her feet in case of trouble," and a melancholy voluptuousness. "I'm back in the tornado," Silk exults. His campus persecutors burn him for it--and his main betrayer is Delphine Roux.
In a short space, it's tough to convey the gale-force quality of Silk's rants, or the odd effect of Zuckerman's narration, alternately retrospective and torrentially in the moment. The flashbacks to Silk's youth in New Jersey are just as important as his turbulent forced retirement, because it turns out that for his entire adult life, Silk has been covering up the fact that he is a black man. (If this seems implausible, consider that the famous New York Times book critic Anatole Broyard did the same thing.) Young Silk rejects both the racism that bars him from Woolworth's counter and the Negro solidarity of Howard University. "Neither the they of Woolworth's nor the we of Howard" is for Coleman Silk. "Instead th! e raw I with all its agility. Self-discovery--that was the punch to the labonz.... Self-knowledge but concealed. What is as powerful as that?"
Silk's contradictions power a great Philip Roth novel, but he's not the only character who packs a punch. Faunia, brutally abused by her Vietnam vet husband (a sketchy guy who seems to have wandered in from a lesser Russell Banks novel), scarred by the death of her kids, is one of Roth's best female characters ever. The self-serving Delphine Roux is intriguingly (and convincingly) nutty, and any number of minor characters pop in, mouth off, kick ass, and vanish, leaving a vivid sense of human passion and perversity behind. You might call it a stain. --Tim Appelo
It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town, an aging classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about! Silk would have astonished his most virulent accuser. Coleman Silk has a secret. But it's not the secret of his affair, at seventy-one, with Faunia Farley, a woman half his age with a savagely wrecked past - a part-time farmhand and a janitor at the college where, until recently, he was the powerful dean of faculty. And it's not the secret of Coleman's alleged racism, which provoked the college witch-hunt that cost him his job and, to his mind, killed his wife. Nor is it the secret of misogyny, despite the best efforts of his ambitious young colleague, Professor Delphine Roux, to expose him as a fiend. Coleman's secret has been kept for fifty years: from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman, who sets out to understand how this eminent, upright man, esteemed as an educator for nearly all his life, had fabricated his identity and how that cannily controlled life came unraveled. Set in 1990s America, where conflic! ting moralities and ideological divisions are made manifest th! rough pu blic denunciation and rituals of purification, The Human Stain concludes Philip Roth's eloquent trilogy of postwar American lives that are as tragically determined by the nation's fate as by the "human stain" that so ineradicably marks human nature. This harrowing, deeply compassionate, and completely absorbing novel is a magnificent successor to his Vietnam-era novel, American Pastoral, and his McCarthy-era novel, I MARRIED A COMMUNIST.
Patricia Briggs, the #1 New York Times bestselling author of the Mercy Thompson novels, "always enchants her readers." (Lynn Viehl, New York Times bestselling author) Now her Alpha and Omega series-set in a world of shifting shapes, loyalty, and passion- brings werewolves out of the darkness and into a society where fear and prejudice could make the hunters prey...
They say opposites attract. And in the case of werewolves Anna Latham and Charles Cornick, they mate. The son-and enforcer-of the leader of the North American werewolves, Charles is a dominant alpha. While Anna, an omega, has the rare ability to calm others of her kind.
Now that the werewolves have revealed themselves to humans, they can't afford any bad publicity. Infractions that could have been overlooked in the past must now be punished, and the strain of doing his father's dirty work is taking a toll on Charles.
Nevertheless, Charle! s and Anna are sent to Boston, when the FBI requests the pack's help on a local serial killer case. They quickly realize that not only the last two victims were werewolves-all of them were. Someone is targeting their kind. And now Anna and Charles have put themselves right in the killer's sights...
FAIR GAME - DVD MovieFROM THE EXECUTIVE PRODUCER OF THE BOURNE FILMS COMES THE MAJOR MOTION PICTURE STARRING SEAN PENN AND NAOMI WATTSBased on Fair Game, Valerie Plame Wilson’s historic and unvarnished account of the personal and international consequences of speaking truth to power.On July 6, 2003, four months after the United States invaded Iraq, former ambassador Joseph Wilson's now historic op-ed, "What I Didn't Find in Africa," appeared in The New York Times. A week later, conservative pundit Robert Novak revealed in his newspaper column that Ambassador Wilson's wife, Valerie Plame Wilson, was a CIA operative. The public disclosure of ! that secret information spurred a federal investigation and le! d to the trial and conviction of Vice President Dick Cheney's chief of staff, Scooter Libby, and the Wilsons' civil suit against top officials of the Bush administration. Much has been written about the "Valerie Plame" story, but Valerie herself has been silent, until now. Some of what has been reported about her has been frighteningly accurate, serving as a pungent reminder to the Wilsons that their lives are no longer private. And some has been completely false--distorted characterizations of Valerie and her husband and their shared integrity.
Valerie Wilson retired from the CIA in January 2006, and now, not only as a citizen but as a wife and mother, the daughter of an Air Force colonel, and the sister of a U.S. marine, she sets the record straight, providing an extraordinary account of her training and experiences, and answers many questions that have been asked about her covert status, her responsibilities, and her life. As readers! will see, the CIA still deems much of the detail of Valerie's story to be classified. As a service to readers, an afterword by national security reporter Laura Rozen provides a context for Valerie's own story.
Fair Game is the historic and unvarnished account of the personal and international consequences of speaking truth to power.
Read the Publisher's Note and First Chapter from Fair Game
Based on Fair Game, Valerie Plame Wilson’s historic and unvarnished account of the personal and international consequences of speaking truth to p! ower.On July 6, 2003, four months after the United States invaded Iraq, former ambassador Joseph Wilson's now historic op-ed, "What I Didn't Find in Africa," appeared in The New York Times. A week later, conservative pundit Robert Novak revealed in his newspaper column that Ambassador Wilson's wife, Valerie Plame Wilson, was a CIA operative. The public disclosure of that secret information spurred a federal investigation and led to the trial and conviction of Vice President Dick Cheney's chief of staff, Scooter Libby, and the Wilsons' civil suit against top officials of the Bush administration. Much has been written about the "Valerie Plame" story, but Valerie herself has been silent, until now. Some of what has been reported about her has been frighteningly accurate, serving as a pungent reminder to the Wilsons that their lives are no longer private. And some has been completely false--distorted characterizations of Valerie an! d her husband and their shared integrity.
Valerie Wilso! n retire d from the CIA in January 2006, and now, not only as a citizen but as a wife and mother, the daughter of an Air Force colonel, and the sister of a U.S. marine, she sets the record straight, providing an extraordinary account of her training and experiences, and answers many questions that have been asked about her covert status, her responsibilities, and her life. As readers will see, the CIA still deems much of the detail of Valerie's story to be classified. As a service to readers, an afterword by national security reporter Laura Rozen provides a context for Valerie's own story.
Fair Game is the historic and unvarnished account of the personal and international consequences of speaking truth to power.
R! ead the Publisher's Note and First Chapter from Fair Game
Based on Fair Game, Valerie Plame Wilson’s historic and unvarnished account of the personal and international consequences of speaking truth to power.Jessica, a beautiful young woman, alone on an isolated outback farm in Australia, becomes the unwilling participant in a series of dangerous games with three shooters. At first they are content to tease and shock her, but when they star shooting on her land and endangering wildlife she is forced to take a stand. One by one, Jessica's avenues of escape are destroyed and she is forced to fight for her life. Jessica sets up whatever makeshift defenses she can and waits for the inevitable showdown. In the mayhem of the climax her farm is reduced to smoking ruins, but her courage and endur! ance proves to be a match for the brute strength of man and machine
The difference this time: Dr. Dolittle has settled into his talk-to-the-animals routine; his 16-year-old daughter (Raven-Symone) is getting to be a feisty handful (it turns out she's coping with a hereditary gift); and his lawyer wife (Kristen Wilson) is representing him in a trial against corporate villains who want to clear-cut a local forest. Naturally, the local critter mafia (their Don is a beaver... fugeddaboutit!) want Dolittle to fight for their cause, and this involves the successful mating of an endangered bear and a domesticated circus bear who's forgotten all the bear necessities of life in the wild. The bears are voiced by Lisa Kudrow and Steve Zahn, and they almost steal the show, but the whole menagerie (with digitally animated "talking") is equally amusing. Adults might wish that the filmmakers had tried harder to make a truly memorable sequel, but this is a movie ! for kids, and they're going to love it without quibbling. -! -Jeff Sh annon
DVD Features:
Audio Commentary
Featurette
Theatrical Trailer
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