Haskell keeps both novel and movie at hand, moving from one to the other, comparing and distinguishing what Margaret Mitchell expresses from what obsessive producer David O. Selznick, directors George Cukor and Victor Fleming, screenplaywrights Sidney Howard and a host of fixers (including Ben Hecht and Scott Fitzgerald), and actors Vivien Leigh, Clark Gable, Hattie McDaniel, and others convey. She emphasizes the contributions of Selznick, Leigh, and in an entire chapter, Mitchell, drawing heavily and analytically on existing biographies, the literature of women and the Civil War, Civil War films (especially Birth of a Nation and Jezebel), and film criticism to such engaging effect as to not just revisit GWTW but to revive and intensify the enduring fascination of what Selznick dubbed the American Bible. --Olson, Ray Copyright 2009 Booklist.

Lost in the Bayou... Selene has always had three great passions: men, food . . . and Gone With the Wind. Still, the glamorous model always seems to be starving for both nourishment and affection. Weary of the petty world of high fashion, she heads to New Orleans for one last shoot before she chucks it all and begins a whole new life. But she doesn't realize that, thanks to an errant voodoo spell, her new life will happen 150 years in the past . . . and in the company of a dark and brooding gentleman who could give Rhett Butler a run for his money! An alarmingly handsome Southern planter, James Baptiste may not have Rhett's cavalier spirit—and his plantation is certainly no Tara! But it's clear as crystal that this virile Creole is a lover worth giving a damn about. And with God as her witness, Selene vows she will never go hungry for this man again!

Delilah Dickinson finds her new literary travel agency in Atlanta getting some bad press when the actor playing the role of Rhett Butler at a plantation modeled after Tara from "Gone with the Wind" turns up dead.

Glimpses into the soul of a people and a nation.

“Exquisitely imagined, deeply researched . . . brings to the foreground the most enigmatic and fascinating figure in Gone with the Wind. This is a brave work of literary empathy by a writer at the height of his powers, who demonstrates a magisterial understanding of the period, its clashing cultures, and its heartbreaking crises. ” —Geraldine Brooks, author of March The only authorized prequel to Margaret Mitchell’s Gone with the Wind—the unforgettable story of Mammy. On a Caribbean island consumed by the flames of revolution, an infant girl falls under the care of two French émigrés, Henri and Solange Fournier, who take the beautiful child they call Ruth to the bustling American city of Savannah. What follows is the sweeping tale of Ruth’s life as shaped first by her strong-willed mistress, and then by Solange’s daughter Ellen and Gerald O’Hara, the rough Irishman Ellen chooses to marry; the Butler family of Charleston and their unexpected connection to Mammy Ruth; and finally Scarlett O’Hara—the irrepressible Southern belle Mammy raises from birth. As we witness the lives of three generations of women, gifted storyteller Donald McCaig reveals a nuanced portrait of Mammy, at once a proud woman and a captive, a strict disciplinarian who has never experienced freedom herself. Through it all, Mammy endures, a rock in the river of time. Set against the backdrop of the South from the 1820s until the dawn of the Civil War, here is a remarkable story of fortitude, heartbreak, and indomitable will—and a tale that will forever illuminate your reading of Margaret Mitchell’s Gone with the Wind.

This collection of the funniest, most acerbic, most insulting lines ever uttered by the wits of the film industry--as well as by equally witty outsiders whose opinions of Hollywood are usually less than flattering. Includes 12 pages of black-and-white photos from famous films such as "Gone With the Wind, The Godfather, On the Waterfront," and "The Wizard of Oz," among others.