"Sarah Sweetflower has inherited Cactus Bob's Saloon in the ghost town of Elbow's Bend. It is here that she plans to open Sarah Sweetflower's Sarsaparilla Saloon and Bridal Shoppe with the help of our hero, Stanley Stoutheart. But the villainous Sly Scavenger and his accomplice, Miss Twinkle Toes, are more interested in Cactus Bob's lost gold mine. With the help of a professional gunfighter, Big Bad Granny, they attempt to do away with Sarah, only to be foiled by the town's only permanent resident, Tumbleweed, who doubles as both the town judge and constable."--Provided by publisher

Discussing more than 120 full-length plays, this volume provides an overview of the most important and memorable theatrical works of crime and detection produced between 1950 and 1975.

Beginning with Charlie Chaplin's Shoulder Arms, released in America near the end of World War I, the military comedy film has been one of Hollywood's most durable genres. This generously illustrated history examines over 225 Army, Navy and Marine-related comedies produced between 1918 and 2009, including the abundance of laughspinners released during World War II in the wake of Abbott and Costello's phenomenally successful Buck Privates (1941), and the many lighthearted service films of the immediate postwar era, among them Mister Roberts (1955) and No Time for Sergeants (1958). Also included are discussions of such subgenres as silent films (The General), military-academy farces (Brother Rat), women in uniform (Private Benjamin), misfits making good (Stripes), anti-war comedies (MASH), and fact-based films (The Men Who Stare at Goats). A closing filmography is included in this richly detailed volume.

In the company of Dale Arden, Flash Gordon embarked for the planet Mongo in 1934. That was in the Sunday funnies in a page drawn by Alex Raymond and written anonymously by former pulp-fiction editor Don Moore. This space opera became one of King Features Syndicate's most popular features, and Raymond's illustrative art was to have a strong influence on many of the young artists who began drawing for comic books in the late 1930s and the early 1940s—Tom Hickey, Sheldon Moldoff, Jack Lehti, George Papp, Mac Raboy, Dan Barry, etc. Flash Gordon entered comic books early in 1936 by way of reprints in King Comics. His battles with the merciless Ming, a sort of galactic Fu Manchu, unfolded in the magazine from the first issue. In the early 1940s Dell began issuing now and then Flash Gordon reprint titles. Later in the decade came an occasional comic-book offering Flash adventures "especially written and drawn for this magazine." The artist was Paul Norris, who also began drawing the Jungle Jim newspaper page in 1948. Harvey Publications tried reprinting the Raymond material in 1950 and 1951, giving up after a few issues. King Features experimented with publishing comic books in the late 1960s. These used original material, and the Flash Gordon book made use of such artists as Al Williamson, a devoted Raymond disciple, Gil Kane, and Reed Crandall. When King quit, Charlton took over and finally Gold Key. The final Whitman Flash Gordon comic book was printed in 1982. He reappeared briefly in 1987 as part of a team that included Mandrake and the Phantom in the TV-inspired Defenders of the Earth.

This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent. Guest editors Ton Hoenselaars and Clara Calvo have constructed this section to highlight both how the spread of 'Shakespeare' throughout Europe has brought together the energies of a wide variety of European cultures across several centuries, and how the inclusion of Shakespeare in European culture has been not only a European but also a world affair. The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. Contributors to this issue come from the US and the UK, Spain, Switzerland and South Africa, Canada, The Netherlands, India, Portugal, Greece, France, and Hungary. In addition to the section on European Shakespeares, this volume includes essays on the genre of romance, issues of character, and other topics.