More than any other writer, Raymond Chandler (1888-1959) is responsible for raising detective stories from the level of pulp fiction to literature. Chandler's hard-boiled private eye Philip Marlowe set the standard for rough, brooding heroes who managed to maintain a strong sense of moral conviction despite a cruel and indifferent world.Chandler's seven novels, including The Big Sleep (1939) and The Long Goodbye (1953), with their pessimism and grim realism, had a direct influence on the emergence of film noir. Chandler worked to give his crime novels the flavor of his adopted city, Los Angeles, which was still something of a frontier town, rife with corruption and lawlessness. In addition to novels, Chandler wrote short stories and penned the screenplays for several films, including Double Indemnity (1944) and Strangers on a Train (1951). His work with Billy Wilder and Alfred Hitchcock on these projects was fraught with the difficulties of collaboration between established directors and an author who disliked having to edit his writing on demand.Creatures of Darkness is the first major biocritical study of Chandler in twenty years. Gene Phillips explores Chandler's unpublished script for Lady in the Lake, examines the process of adaptation of the novel Strangers on a Train, discusses the merits of the unproduced screenplay for Playback, and compares Howard Hawks's director's cut of The Big Sleep with the version shown in theaters. Through interviews he conducted with Wilder, Hitchcock, Hawks, and Edward Dmytryk over the past several decades, Phillips provides deeper insight into Chandler's sometimes difficult personality.Chandler's wisecracking Marlowe has spawned a thousand imitations. Creatures of Darkness lucidly explains the author's dramatic impact on both the literary and cinematic worlds, demonstrating the immeasurable debt that both detective fiction and the neo-noir films of today owe to Chandler's stark vision.

For most Americans, George Washington is more of a legend than a man -- a face on our currency or an austere figure standing in a rowboat crossing the icy Delaware River. He was equally revered in his own time. At the helm of a country born of idealism and revolution, Washington reluctantly played the role of demigod that the new nation required -- a role reconciling the rhetoric of democracy with the ritual of monarchy. Washington quickly understood that every decision he made as president would be analyzed, criticized, and emulated. "There is scarcely any part of my conduct which may not hereafter be drawn into precedent," he said. In his own words, Washington describes himself as a poor orator and an uncomfortable leader, a man more at ease in his private gardens than at the center of America's trust and adoration. Plagued by doubts about his education and abilities, Washington developed self-discipline that to others seemed superhuman.Washington on Washington offers a fresh and human perspective on this enigmatic figure in American history. Drawing on diary entries, journals, letters, and authentic interviews, Paul M. Zall presents the autobiography that Washington never lived to write, revealing new insights into his character, both personal and political.

Erich von Stroheim (1885-1957) was one of the giants in American film history. Stubborn, arrogant, and colorful, he saw himself as a cinema artist, which led to conflicts with producers and studio executives who complained about the inflated budgets and extraordinary length of his films. Stroheim achieved great notoriety and success, but he was so uncompromising that he turned his triumph into failure. He was banned from ever directing again and spent his remaining years as an actor.Stroheim's life has been wreathed in myths, many of his own devising. Arthur Lennig scoured European and American archives for details concerning the life of the actor and director, and he counters several long-accepted claims. Stroheim's tales of military experience are almost completely fictitious; the "von" in his name was an affectation adopted at Ellis Island in 1909; and, counter to his own claim, he did not participate in the production of The Birth of a Nation in 1914. Wherever Stroheim lived, he was an outsider: a Jew in Vienna, an Austrian in southern California, an American in France. This contributed to an almost pathological need to embellish and obscure his past; yet, it also may have been the key to his genius both behind and in front of the camera. As an actor,Stroheim threw himself into his portrayals of evil men, relishing his epithet, ""The Man You Love to Hate."" As a director, he immersed himself in every facet of production, including script writing and costume design. In 1923 he created his masterpiece Greed, infamous for its eight-hour running time. Stroheim returned to acting, saving some of his finest performances for La Grande Illusion (1937) and Billy Wilder's Sunset Boulevard (1950), a role he hated, probably because it was too similar to the story of his own life.

The South -- an inspiration for songwriters, a source of styles, and the birthplace of many of the nation's greatest musicians -- plays a defining role in American musical history. It is impossible to think of American music of the past century without such southern-derived forms as ragtime, jazz, blues, country, bluegrass, gospel, rhythm and blues, Cajun, zydeco, Tejano, rock'n'roll, and even rap. Musicians and listeners around the world have made these vibrant styles their own. Southern Music/American Music is the first book to investigate the facets of American music from the South and the many popular forms that emerged from it. In this substantially revised and updated edition, Bill C. Malone and David Stricklin bring this classic work into the twenty-first century, including new material on recent phenomena such as the huge success of the soundtrack to O Brother, Where Art Thou? and the renewed popularity of Southern music, as well as important new artists Lucinda Williams, Alejandro Escovedo, and the Dixie Chicks, among others. Extensive bibliographic notes and a new suggested listening guide complete this essential study.

Elizabeth Simpson Inchbald (1753--1821) was one of the leading literary figures of the late eighteenth century -- an actress, a successful playwright and editor of several collections of plays, a popular novelist, and a drama critic. Considered a beautiful, independent woman, Inchbald was much involved in the theatrical, literary, and publishing life of London.Elizabeth Simpson ran away from home at age eighteen to seek fame as an actress in London and quickly married Joseph Inchbald, an actor twice her age. They toured the stage together until his sudden death in 1779. She made her London stage debut a year later, and her writing debut came in 1784 with the play The Mogul Tale; Or, The Descent of the Balloon. Over the next two decades she wrote or adapted twenty-one plays: comedies, farces, and works from French and German, including the version of Kotzebue's Lovers' Vows, later used in Jane Austen's Mansfield Park. Inchbald's acclaimed first novel, A Simple Story, prefigured the work of later women writers such as Austen.Using material from Inchbald's own pocket books detailing her daily life (she destroyed most of her letters and journals late in her life at the advice of her Catholic confessor) as well as a wealth of other sources, Annibel Jenkins tells for the first time not only the full story of Mrs. Inchbald's life but also provides a fascinating look at the society and politics, both public and private, of London in the late eighteenth and early nineteenth centuries.

The ultimate guide to the quintessential Derby drink! A simple concoction -- bourbon, mint, sugar, and water -- the mint julep is legendary. Few people know its history and even fewer know how to properly mix this classic cocktail. Lighthearted, entertaining, and informative, The Kentucky Mint Julep explores the lore and legend of the Kentucky Derby's traditional tipple. Joe Nickell looks at the origins of the julep, offers a brief history of American whiskey and Kentucky bourbon, and shares some classic julep tales. Information on julep cups, tips on garnishing and serving, and reminiscences from the likes of Charles Dickens, Washington Irving, and General John Hunt Morgan give a fun, historic look at Kentucky's favorite drink. The book includes numerous recipes -- for classic juleps, modern variations, non-alcoholic versions, and the author's own thoroughly researched "perfect" mint julep. This delightful book is illustrated with historic photographs, a map of the Kentucky Bourbon Trail, and more.

After Pearl Harbor, Tin Pan Alley songwriters rushed to write the Great American War Song -- an "Over There" for World War II. The most popular songs, however, continued to be romantic ballads, escapist tunes, or novelty songs. To remedy the situation, the federal government created the National Wartime Music Committee, an advisory group of the Office of War Information (OWI), which outlined "proper" war songs, along with tips on how and what to write. The music business also formed its own Music War Committee to promote war songs.Neither group succeeded. The OWI hoped that Tin Pan Alley could be converted from manufacturing love songs to manufacturing war songs just as automobile plants had retooled to assemble planes and tanks. But the OWI failed to comprehend the large extent by which the war effort would be defined by advertisers and merchandisers. Selling merchandise was the first priority of Tin Pan Alley, and the OWI never swayed them from this course.Kathleen E.R. Smith concludes the government's fears of faltering morale did not materialize. Americans did not need such war songs as "Goodbye, Mama, I'm Off To Yokohama", "There Are No Wings On a Foxhole", or even "The Sun Will Soon Be Setting On The Land Of The Rising Sun" to convince them to support the war. The crusade for a "proper" war song was misguided from the beginning, and the music business, then and now, continues to make huge profits selling love -- not war -- songs.

Dulcimer making has long been considered an art. The exquisite design is also functional, and the best instruments sound as beautiful as they look. Homer Ledford, a legend among dulcimer makers, is known for his innovative but traditional craftsmanship. A biography and a step-by-step guide to dulcimer making, this classic book illuminates and celebrates the work of a master craftsman, musician, and folk artist. This new edition presents a foreword by Ron Pen, director of the John Jacob Niles Center for American Music at the University of Kentucky, and an enlightening afterword featuring a conversation with Ledford. In an era when Americans are rediscovering their musical roots, Dulcimer Maker offers a unique look at a bluegrass legend.

The three Kentucky presidents -- Abraham Lincoln, Zachary Taylor, and Jefferson Davis -- were profoundly shaped by their experiences in Kentucky, poised as it was on the border between the North and the South, the East and the Western Frontier. Holman Hamilton asserts that these leaders were personally and politically influenced by their connections to the state. The contrasting traits of western frontiersman and southern aristocrat illuminate Kentucky's heritage and affected Taylor, Lincoln, and Davis, presidents during one of America's most troubled eras. Frontier values influenced Lincoln's and Taylor's views on the major issues of their time: extension of slavery, which they opposed, and preservation of the Union, which they supported. Davis's career reflects Southern values, leading him to favor slavery's extension and the Confederacy.

For subsistence farmers in eastern Kentucky, wealthy horse owners in the central Bluegrass, and tobacco growers in Western Kentucky, land was, and continues to be, one of the commonwealth's greatest sources of economic growth. It is also a source of nostalgia for a people devoted to tradition, a characteristic that has significantly influenced Kentucky's culture, sometimes to the detriment of education and development.As timely now as when it was first published, Thomas D. Clark's classic history of agrarianism prepares readers for a new era that promises to bring rapid change to the land and the people of Kentucky.

Kentucky and Kentuckians are full of stories, which may be why so many present-day writers have Kentucky roots. Whether they left and returned, like Wendell Berry and Bobbie Ann Mason, or adopted Kentucky as home, like James Still and Jim Wayne Miller, or grew up and left for good, like Michael Dorris and Barbara Kingsolver, they have one connection: Kentucky has influenced their writing and their lives. L. Elisabeth Beattie explores this influence in twenty intimate interviews.Conversations with Kentucky Writers was more than three years in the making, as Beattie traveled across the state and beyond to capture oral histories on tape. Her exhaustive knowledge of these authors helped her draw out personal revelations about their work, their lives, and the nature of writing. When Still concludes his interview with "I believe I've told you more than anybody," he could be speaking for any of Beattie's subjects.Aspiring writers will learn that Mason submitted twenty stories to the New Yorker before one was accepted, and that Still wrote articles for Sunday school magazines. There's plenty of advice: Dorris tells budding authors to get real jobs, keep journals, and read everything, even cereal boxes, and Marsha Norman reminds playwrights that "it is not the business of the theater to provide writers with a living." Kingsolver advises, "Read good stuff and write bad stuff until eventually what you're writing begins to approximate what you're reading."Beattie's collection includes striking self-portraits of such writers as Sue Grafton, Leon Driskell, James Baker Hall, Fenton Johnson, George Ella Lyon, Taylor McCafferty, Ed McClanahan, Sena Naslund, Chris Offutt, Lee Pennington, and Betty Layman Receveur.What most distinguishes these moving conversations from other author interviews is their focus on creativity, on the teaching of writing, and on the authors' strong sense of place.As Wade Hall writes in his foreword, all twenty writers recognize that their works have been significantly influenced by their "Kentucky experience." This collection offers insights into Kentucky's rich and flowering literary heritage.

While Father is Away reveals the intimate story of a British-American's role in the American Civil War. William Bradbury's letters home provide a rare window on the unique relationships among husband, wife, and children while a father was away at war.Yorkshire attorney turned Union volunteer soldier Bradbury became a "privileged private" with extraordinary access to powerful Union generals including Daniel Butterfield, future president Benjamin Harrison, and Clinton B. Fisk, the region's administrator for the Freedmen's Bureau during Reconstruction.The letters also provide an in-depth look at this driven land speculator and manager for the Atchison Topeka Santa Fe Railway. As a reporter for the Chicago Tribune and the Manchester Guardian, Bradbury was both eyewitness to and participant in the shaping of events in the world as it moved west.

" The 1943 invasion of Bougainville, largest and northernmost of the Solomon Islands, and the naval battles during the campaign for the island, contributed heavily to the defeat of the Japanese in the Pacific War. Here Harry Gailey presents the definitive account of the long and bitter fighting that took place on that now all-but-forgotten island. A maze of swamps, rivers, and rugged hills overgrown with jungle, Bougainville afforded the Allies a strategic site for airbases from which to attack the Japanese bastion of Rabaul. By February of 1944 the Japanese air strength at Rabaul had indeed been wiped out and their other forces there had been isolated and rendered ineffective. The early stages of the campaign were unique in the degree of cooperation among Allied forces. The overall commander, American Admiral Halsey, marshaled land, air, and naval contingents representing the United States, Australia, and New Zealand. Unlike the other island campaigns in the Pacific, the fighting on Bougainville was a protracted struggle lasting nearly two years. Although the initial plan was simply to seize enough area for three airbases and leave the rest in Japanese hands, the Australian commanders, who took over in November 1944, decided to occupy the entire island. The consequence was a series of hard-fought battles that were still going on when Japan's surrender finally brought them to an end. For the Americans, a notable aspect of the campaign was the first use of black troops. Although most of these troops did well, the poor performance of one black company was greatly exaggerated in reports and in the media, which led to black soldiers in the Pacific theater begin relegated to non-combat roles for the remainder of the war. Gailey brings again to life this long struggle for an island in the far Pacific and the story of the tens of thousands of men who fought and died there.

Why do people consider aesthetic qualities as well as utilitarian ones in the making of everyday objects? Why do they maintain traditions? What is the nature of their creative process? These are some of the larger questions addressed by Michael Owen Jones in his book on craftsmen in the Cumberland Mountains of eastern Kentucky. Concentrating on the work of one man, woodworker and chairmaker Chester Cornett, Jones not only describes the tools and techniques employed by Cornett but also his aspirations and values. Cornett possessed a deep knowledge of his materials and a mastery of construction methods. Some of his chairs represent not objects of utility but aesthetic developments of the chair form. Cornett sought to cope with the problems of his life, Jones maintains; their massiveness provided a sense of security, the virtuosity of their design and construction, a feeling of self-esteem. Jones also compares other area craftsmen and their views about their work.

In the long history of European prose fiction, few works have been more influential and more popular than the romance of chivalry Amadis of Gaul. Although its original author is unknown, it was probably written during the early fourteenth century. The first great bestseller of the age of printing, Amadis of Gaul was translated into dozens of languages and spawned sequels and imitators over the centuries. A handsome, valiant, and undefeatable knight, Amadis is perhaps best known today as Don Quixote's favorite knight-errant and model. This exquisite English translation restores a masterpiece to print.

After the Civil War, the Louisville and Nashville Railroad took the lead among southern railroads in developing rail systems and organizing transcontinental travel. Through two world wars, federal government control, internal crises, external dissension, the Depression, and the great Ohio River flood of 1937, the L&N Railroad remained one of the country's most efficient lines. It is a southern institution and a railroad buff's dream. When eminent railroad historian Maury Klein's definitive History of the Louisville and Nashville Railroad was first published in 1972, it quickly became one of the most sought after books on railroad history. This new edition both restores a hard-to-find classic to print and provides a new introduction by Klein detailing the L&N's history in the thirty years since the book was first published.