A dazzling, prize-winning graphic biography of one of the world's most revered writers. Winner of Spain's National Comic Prize and published to acclaim in Ireland, here is an extraordinary graphic biography of James Joyce that offers a fresh take on his tumultuous life. With evocative anecdotes and hundreds of ink-wash drawings, Alfonso Zapico invites the reader to share Joyce's journey, from his earliest days in Dublin to his life with his great love, Nora Barnacle, and their children, and his struggles and triumphs as an artist. Joyce experienced poverty, rejection, censorship, charges of blasphemy and obscenity, war, and crippling ill-health. A rebel and nonconformist in Dublin and a harsh critic of Irish society, he left Ireland in self-imposed exile with Nora, moving to Paris, Pola, Trieste, Rome, London, and finally Zurich. He overcame monumental challenges in creating and publishing Dubliners, Portrait of an Artist as a Young Man, Ulysses, and Finnegan's Wake. Along the way, he encountered a colorful cast of characters, from the Irish nationalists Charles Parnell and Michael Collins to literary greats Yeats, Proust, Hemingway, and Beckett, and the likes of Carl Jung and Vladimir Lenin.

THE ART OF HORROR: AN ILLUSTRATED HISTORY Amazingly there has never been a book quite like ÊThe Art of HorrorÊ ä a celebration of frightful images compiled and presented by some of the genre's most respected names. While acknowledging the beginnings of horror-related art in legends and folk tales the focus of the book is on how the genre has presented itself to the world since the creations of Bram Stoker and Mary Shelley first became part of the public consciousness in the 19th century. It's all here: from early engravings ä via dust jackets book illustrations pulp magazines movie posters comic books and paintings ä to today's artists working entirely in the digital realm.ÞEditor Stephen Jones and his stellar team of contributors have sourced visuals from archives and private collections (including their own) worldwide ensuring an unprecedented selection that is accessible to those discovering the genre while also including many images that will be rare and unfamiliar to even the most committed fan.ÞFrom the shockingly lurid to the hauntingly beautiful ä including images of vampires werewolves zombies ghosts demons serial killers alien invaders and more ä every aspect of the genre is represented in ten themed chapters. Quotes from artists/illustrators and a selection from writers and filmmakers are featured throughout.

VIDEOTAPES FROM HELL VIDEOTAPES FROM HELL

This never-before-told story gives a fascinating look at a strange moment in pop-culture history that remains an object of fascination even today. Bea Arthur as the owner of the Mos Eisley Cantina. Long scenes entirely of Wookies bleating at each other, without subtitles. Harvey Korman, in drag, as a four-armed Space Julia Child. Six minutes of Jefferson Starship performing for Art Carney and a bored Imperial Guard. Mark Hamill, fresh from his near-fatal motorcycle accident, slathered in pancake makeup. A salacious holographic burlesque from Diahann Carroll. Even by the standards of the 1970s, even compared to Jar-Jar Binks, the legendary 1978 Star Wars Holiday Special is a peerlessly cringeworthy pop-culture artifact. George Lucas, who completely disowned the production, reportedly has said, “If I had the time and a sledgehammer, I would track down every copy of that show and smash it.” Just how on earth did this thing ever see the light of day? To answer that question, as Steven Kozak shows in this fascinating and often hilarious inside look into the making of the Special, you have to understand the cultural moment in which it appeared—a long, long time ago when cheesy variety shows were a staple of network television and Star Wars was not yet the billion-dollar multimedia behemoth that it is today. Kozak explains how the Special was one piece of a PR blitz undertaken by Lucas and his colleagues as they sought to protect the emerging franchise from hostile studio executives. He shows how, despite the involvement of some of the most talented people in the business, creative differences between movie and television writers led to a wildly uneven product. He gives entertaining accounts of the problems that plagued production, which included a ruinously expensive cantina set; the acrimonious departure of the director and Lucas himself; and a furious Grace Slick, just out of rehab, demanding to be included in the production. Packed with memorable anecdotes, drawing on extensive new interviews with countless people involved in the production, and told with mingled affection and bewilderment, this never-before-told story gives a fascinating look at a strange moment in pop-culture history that remains an object of fascination even today.