From 1947 to 1955, Jean Peters (1926–2000) appeared in films opposite such Hollywood leading men as Tyrone Power, Marlon Brando, Burt Lancaster, Spencer Tracy, Richard Widmark, and Robert Wagner, as well as international stars including Louis Jourdan and Rossano Brazzi. Despite her talent and status, Peters eschewed the star-studded lifestyle of 1950s Hollywood, turning down roles that were “too sexy” and refusing to socialize with other actors, discuss her private life in the press, or lead the glamorous lifestyle often associated with her peers. She was seen as a mystery to reporters, who constantly tried to discover tidbits about her personal life. In 1957, her marriage to Howard Hughes led to her retirement from acting and her further withdrawal from social events in Hollywood. Instead, she shifted her attention to charitable work, arts and crafts, and university studies in psychology and anthropology. Her status as an enigma only grew as she agreed never to speak of her marriage with Hughes. After her divorce, however, Peters attempted to resume her acting career in television but never regained her previous level of stardom. Jean Peters: Hollywood's Mystery Girl grants an in-depth analysis of each of her nineteen films and is enriched by several high-quality photographs from the author’s personal collection.

Originally a successful painter from Romania, Jean Negulesco worked in Hollywood first as an art director, then as a second unit director. He was later hired as a director by various studios--mostly for ballet and musical shorts--before being assigned to a number of commercially successful films. During his 30-year career, he worked in several European countries yet it was in the U.S. he achieved his greatest success, with Warner Brothers and 20th Century Fox. Dubbed "The Prince of Melodrama" by critics, he directed films of all genres, working with stars like Joan Crawford, John Garfield, Marilyn Monroe, Lauren Bacall, Bette Davis, Richard Burton, Alec Guinness, Fred Astaire and many others. Negulesco was nominated for Best Director by the Academy of Motion Picture Arts and Sciences in 1948 for Johnny Belinda--now considered a classic, along with his The Mask of Dimitrios (1944), Humoresque (1946), How to Marry a Millionaire (1953) and Three Coins in the Fountain (1954). This book--the first on him since his 1984 autobiography--covers his extraordinary life and career, with extensive analyses of his films.

Adapted to a major motion picture by director Martin Scorsese, The Aviator stars Leonardo DiCaprio as Howard Hughes! His wealth was legendary. His passions were bizarre. Charles Higham's biography tells the truth about the money, the madness, and the man behind the enigma. Howard Hughes is one of the best known and least understood men of our times--famed for his wealth, his daring, and his descent into madness. Bestselling biographer Higham goes beyond the enigma to reveal the incredible private life of Howard Hughes: * his romances with the great stars of Hollywood--Katharine Hepburn, Bette Davis, Cary Grant, Tyrone Power, and numerous others * his forays into sadomasochism * his involvement with Richard Nixon and Watergate * his bizarre final years This is a compelling portrait of a unique American figure--in a story as revealing as it is unforgettable.

In university teachers'' hectic lives, finding space to reflect, restore, renew, and recommit can seem impossible. Jean Koh Peters and Mark Weisberg believe regular reflection is critical and have designed A Teacher''s Reflection Book to help teachers and other professionals find that space. Growing out of the authors'' extensive experience facilitating retreats and leading teaching and learning workshops, the book builds on their discoveries in those settings, supporting and promoting teachers'' self-directed development. Inviting that development, A Teacher''s Reflection Book is a cornucopia of stories, exercises, and examples that will inspire teachers to make reflection a cornerstone of their daily lives. With its multiple suggestions and strategies, it offers something for every reader, and is responsive to teachers'' needs at all stages of their careers. The book''s six chapters offer readers several perspectives from which to reflect. Some sections offer glimpses of teachers in the midst of their daily teaching lives, while others step away, inviting readers to reflect on what it means to have a vocation as a teacher. The book explores how we listen, a crucial yet rarely taught skill, essential for reflecting, as well as for learning and teaching. And it invites teachers to reflect on their students: who they are, and what and how they learn. For those latter reflections, the authors turn the focus on fear, which so pervades university life and which can distort learners'' and teachers'' perspectives and responses. Throughout this book, readers will visit several classrooms and listen to the evocative voices of several thoughtful students. Revelatory, practical, and wise, A Teacher''s Reflection Book is a valuable companion and guide. "One key strength of the book is its authentic writing style, which engages the reader and builds the trustworthiness of the authors. Another strength is the book''s wealth of readings and the activities it offers to catalyze teacher reflection." -- Teaching Theology and Religion, Ryan S. Gardner "This excellent book should be part of every teacher''s professional library. It is a book pitched at all teachers in higher education and, through the processes of reflection, a book that advances important principles of good teaching practice that are usually introduced all too briefly in the basic texts on teaching in higher education. ...Several descriptive words come to mind when reading this book. It is a polite and gentle book. Politeness is revealed in the book''s sub-title - ''Exercises, stories, invitations''. It is the idea of invitation that characterizes much of the book. It is not didactic but rather invites us to use the book and the processes described in it in ways that work best for us. It does this through questions and inductive approaches to reflection. Through these approaches and the careful use of real-life examples, we are gently invited to explore the perspectives presented in the text and apply these to our personal and professional lives. It is also an accessible book. Most refreshingly, it is not burdened with unnecessary technical jargon and convoluted language that sadly cripples too much writing in education today and makes learning inaccessible to many, particularly for those readers whose first language is not English." -- Higher Education Research & Development (HERDSA), Robert Cannon "I was asked to write a book review but I find that, instead, I want to write a thank you note thanking Jean Koh Peters and Mark Weisberg for the gift of their book, A Teacher''s Reflection Book. ...The reflections, examples and exercises you offer in the book make reflecting about both challenging and positive moments in my life as a teacher feel like something I can do easily and regularly. ...In this book, you have found a way to model, encourage and help create a compassionate space where teachers can make the deepest connection between who they are and what they do. You give us permission to find our truth in and the courage to bring our hearts to our teaching and writing. You have made a home for reflection." -- The Law Teacher, Kimberly Kirkland, University of New Hampshire School of Law "We are all so busy. We race from task to task. We attempt to multi-task; dividing and depleting our energies. How many times do we arrive in class breathless with hardly a moment to think about what we have planned for the day? I harbor no illusions that a blog entry is going to change our lives, but I would like to use this one to reiterate the need to make time for reflection, for contemplation about what we do, and how and why we do it. The value of doing so is laid out clearly in [this] new book..." -- Teaching Professor Blog, Maryellen Weimer

Howard Hughes embodied the American dream: envied by powerful men, desired by beautiful women, Hughes lived his life larger than all who surrounded him and yet died an emaciated recluse. This makes him the perfect subject for red-hot biographer Alton Reece. Riding high on the wave of previous astonishing success, Reece sees Hughes as more than simply a name worth the seven-figure advance he's demanding from his publisher. He finds in Hughes a kindred spirit of greatness, a man misunderstood and beaten down by jealous inferiors. But even as Reece struggles to 'know' his subject, his own rapidly unravelling life keeps finding unexpected ways to intrude. With a deft comic touch and an astounding narrative style, Steven Carter's novel creates a picture of a Hughes who might have been, a biographer who can't separate his subject from his own visions of grandeur, and a public that demands its heroes be larger than life - if only so they can be more easily torn down.

As you are reading this, banks are giving away millions of your dollars in gift mortgages. The banks are borrowing money from the federal government for mortgages, claiming the loans have ‘gone bad' and then giving the title of the property to ‘deserving individuals.' There is no federal check on these ‘bad loans' so the mortgages are free and clear—and tax-free. A Writ of Mandamus filed by the author in August of 2017 may end this practice. Beating Banks At their Own Game, is a fictional approach to explaining how the process works. The Appendix includes a collection of nonfiction documents sent by the author to the FBI, SEC, Consumer Financial Protection Bureau and the Federal Housing Finance Administration to STOP the practice of gift mortgages. Beating Banks At their Own Game is the saga of five people who use occupational and real-life experience in banking and real estate to seize control of more than 120 lots in a six-block area in Las Vegas using money that does not exist. They slide the land titles into a shell corporation and then sell out to a development corporation for 75% of book value. By selling below market value they know the sale will go quickly and quietly. But can they get the land and sell it before their scam is uncovered by greedy competitors who want in on the action, state banking auditors, the IRS and the SEC?

Introduction by Werner Sollors Adrienne Kennedy has been a force in American theatre since the early 1960s, influencing generations of playwrights with her hauntingly fragmentary lyrical dramas. Exploring the violence racism visits upon people's lives, Kennedy's plays express poetic alienation, transcending the particulars of character and plot through ritualistic repetition and radical structural experimentation. Frequently produced, read, and taught, they continue to hold a significant place among the most exciting dramas of the past fifty years. This first comprehensive collection of her most important works traces the development of Kennedy's unique theatrical oeuvre from her Obie-winning Funnyhouse of a Negro (1964) through significant later works such as A Movie Star Has to Star in Black and White (1976), Ohio State Murders (1992), and June and Jean in Concert, for which she won an Obie in 1996. The entire contents of Kennedy's groundbreaking collections In One Act and The Alexander Plays are included, as is her earliest work "Because of the King of France" and the play An Evening with Dead Essex (1972). More recent prose writings "Secret Paragraphs about My Brother," "A Letter to Flowers," and "Sisters Etta and Ella" are fascinating refractions of the themes and motifs of her dramatic works, even while they explore new material on teaching and writing. An introduction by Werner Sollors provides a valuable overview of Kennedy's career and the trajectory of her literary development. Adrienne Kennedy (b. 1931) is a three-time Obie-award winning playwright whose works have been widely performed and anthologized. Among her many honors are the American Academy of Arts and Letters award and the Guggenheim fellowship. In 1995-6, the Signature Theatre Company dedicated its entire season to presenting her work. She has been commissioned to write works for the Public Theater, Jerome Robbins, the Royal Court Theatre, the Mark Taper Forum, and Juilliard, and she has been a visiting professor at Yale, Princeton, Brown, the University of California at Berkeley, and Harvard. She lives in New York City.

Playwrights have been depicting Hollywood as a cultural desert and an industry of profit-driven philistines ever since the early days of the movies. This collection of original essays covers the period from the 1920s to the present but concentrates on such contempory playwrights as David Mamet, Sam Shepard, David Rabe, Arthur Kopit, and Adrienne Kennedy. A substantial proportion of the volume is devoted to a discussion of the way in which these authors deconstruct Hollywood myths to reveal painful social and psychological issues in American life, providing a deeper and darker picture than the simple satires of movie-making in the 1920s and 1930s or Odets's comparison of the commercially debased Hollywood with the higher, purer art of the theatre. To complete and further complicate the picture, the volume concludes with essays on the African American experience, gay writers, and feminist writing as seen through the lens of Marlane Myer's ETTA JENKS. It is obvious that the legitimate stage remains a watchdog and constant critic of what is possibly the world's most powerful cultural phenomenon This book will be eargerly read by all students of film, theatre, and 20th century literature.