In 1975, after his two Godfather epics, Francis Ford Coppola went to the Philippines to film Apocalypse Now. He scrapped much of the original script, a jingoistic narrative of U.S. Special Forces winning an unwinnable war. Harvey Keitel, originally cast in the lead role, was fired and replaced by Martin Sheen, who had a heart attack. An overweight Marlon Brando, paid a huge salary, did more philosophizing than acting. It rained almost every day and a hurricane wiped out the set. The Philippine government promised the use of helicopters but diverted them at the last minute to fight communist and Muslim separatists. Coppola filmed for four years with no ending in the script. The shoot threatened to be the biggest disaster in movie history. Providing a detailed snapshot of American cinema during the Vietnam War, this book tells the story of how Apocalypse Now became one of the great films of all time.

Heart of Darkness is often considered the world’s best short novel. The book serves as a bridge between the 19th century and modernism, an adventure tale revolving around the ambiguity of themes such as truth, morality, and evil. Joseph Conrad witnessed the European exploitation of the Congo with his own eyes. He once sailed up the Congo River himself to locate a countryman at a trading station deep within the country – even though this man wasn't named Kurtz. The goal and enigma of the journey have become synonymous with this name, one of the most unforgettable fictional characters of our time. JOSEPH CONRAD [1857–1924] was born in Ukraine to Polish parents, went to sea at the age of seventeen, and ended his career as a captain in the English merchant navy. His most famous work is the novella Heart of Darkness [1899], adapted into a film by Francis Ford Coppola in 1979 as Apocalypse Now.

"Laura Kaye has a gift for writing beautifully damaged men and Caden Grayson leads the pack with enough vulnerability to twist your heart in knots." ~ NYT Bestseller Tessa Bailey Two strangers... When accountant Makenna James finds herself stranded in a pitch-black elevator, she can’t help but wonder about the stranger stuck with her. All she noticed about him before the lights went out was a dragon tattoo; all she knows now is his sexy, gruff voice in the darkness. Four hours... Caden Grayson is inked, pierced, scarred on the inside and out—and terrified of the dark for reasons he’d rather not remember. Trapped in his worst nightmare, only the sweet voice of the red-headed beauty distracts him from his fear. And, oh, man, as the hours pass and the darkness heats up, that’s nothing compared to her touch. One pitch-black elevator... He’s all rough edges and she’s pin-striped skirts, but in the darkness they open up and reach out without any preconceptions to hold them back. But as attraction grows and sparks fly, will they feel the same when the lights come back on "A beautiful read with Kaye's trademark sexiness and smart storytelling! Makenna and Caden are magic together--I loved this book!" ~ NYT Bestseller Jennifer Probst

In this book, one of modernism's most insightful critics, Jane Marcus, examines the writings of novelists such as Virginia Woolf, Nancy Cunard, Mulk Raj Anand, and Djuna Barnes-artists whose work coincided with the end of empire and the rise of fascism before the Second World War. All these writers delved into the "dark hearts" of imperialism and totalitarianism, thus tackling some of the most complex cultural issues of the day. Marcus investigates previously unrecognized ways in which social and political tensions are embodied by their works. The centerpiece of the book is Marcus's dialogue with one of her best-known essays, "Britannia Rules The Waves." In that piece, she argues that The Waves makes a strong anti-imperialist statement. Although many already support that argument, she now goes further in order to question the moral value of such a buried critique on Woolf's part. In "A Very Fine Negress" she analyzes the painful subject of Virginia Woolf's racism in A Room of One's Own. Other chapters traverse the connected issues of modernism, race, and imperialism. In two of them, we follow Nancy Cunard through the making of the Negro anthology and her appearance in a popular novel of the freewheeling Jazz Age. Elsewhere, Marcus delivers a complex analysis of A Passage to India, in a reading that interrogates E. M. Forster's displacement of his fear of white Englishwomen struggling for the vote. Marcus, as always, brings considerable gifts as both researcher and writer to this collection of new and reprinted essays, a combination resulting in a powerful interpretation of many of modernism's most cherished figures.

"Marcus (English, CUNY-Graduate Center and City College of New York) explores race, gender, and reading in Europe during the 1920s and 30s--a period coinciding with the end of empire and the rise of fascism. The author analyzes the work of such novelists as Virginia Woolf, Nancy Cunard, Mulk Raj Anand, and Djuna Barnes, and their treatment of cultural issues of their time--particularly imperialism and totalitarianism--in an effort to "relocate the heart of darkness in London and Paris, away from those light-filled lands of Africa and India where it has lodged in the Western imagination." Annotation ©2004 Book News, Inc., Portland, OR.

(Book). Hearts of Darkness is the story of a generation's coming of age through the experiences of its three most atypical pop stars. James Taylor, Jackson Browne, and Cat Stevens could never have been considered your typical late-sixties songwriters self-absorbed and self-composed, all three eschewed the traditional means of delivering their songs, instead turning its process inward. The result was a body of work that stands among the most profoundly personal art ever to translate into an international language, and a sequence of songs from "Sweet Baby James" and "Carolina in My Mind," to "Jamaica Say You Will" and "These Days," to "Peace Train" and "Wild World" that remain archetypes not only of what the critics called the singer-songwriter movement, but of the human condition itself. Author Dave Thompson, himself a legend among rock biographers, takes on his subjects with his usual brio and candor, leaving no stone unturned in his quest to shine a light on the dark side of this profoundly earnest era in popular music. Penetrating, pointed, and laced with vivid insight and detail, Hearts of Darkness is the story of rock when it no longer felt the need to roll.

'Fascinating. A compelling and intriguing volume.' Associated Press Scarcely over a hundred years ago, Africa was still the Dark Continent to Europeans-its geography and peoples largely unknown. The continent was Nature's last great fortress, made seemingly impregnable by disease, hostile tribes, dangerous animals, extremes of climate and an inhospitable terrain. However, the era of discovery eventually dawned: Africa was being opened up. Through the combination of individual endeavour and technological breakthrough, a handful of explorers began exploring and mapping Africa. Livingstone, Stanley, Burton, Speke, Baker, and others-these extraordinary characters risked their lives to uncover the mysteries of the Dark Continent. Frank McLynn proposes a thematic treatment of the subject; opening with an historical survey of the achievements and scope of the explorers, detailing the legendary search of the source of the Nile, the traversing of the Congo and Niger, and the recovery of Livingstone. The ensuing chapters deal then with different aspects of exploration over the period. The highly-praised Hearts of Darkness brings us the reality behind the myths and legends of England's first steps into the Dark Continent. Frank McLynn is a British author, biographer, historian and journalist. He is noted for critically acclaimed biographies of Napoleon Bonaparte, Robert Louis Stevenson, Carl Jung, Richard Francis Burton and Henry Morton Stanley. He is also the author of Fitzroy Maclean, Villa and Zapata and Bipolar, a novel about Roald Amundsen, published by Sharpe Books. Praise for Frank McLynn: 'A remarkable opus.' ALA Booklist 'An eye-opening safari into the history and psychobiography of Africa exploration.' Kirkus Reviews 'In sturdy, confident prose McLynn takes an intriguing tack by offering a thematic, comparative account of African exploration during the Victorian era.' Publishers Weekly 'A readable, well-written and worthwhile work.' Seattle Times 'A smoothly written account of African exploration during the Victorian era. [McLynn] presents fascinating derails on everything from the eating habits of the black mamba to the ravages of the tsetse fly on the European travellers.' Tampa Tribune and Times