Finalist for the Los Angeles Times Book Prize (Biography) A Hollywood love story, a Hollywood memoir, a dual biography of two of Hollywood’s most famous figures, whose golden lives were lived at the center of Hollywood’s golden age, written by their daughter, an acclaimed writer and producer. Fay Wray was most famous as the woman—the blonde in a diaphanous gown—who captured the heart of the mighty King Kong, the twenty-five-foot, sixty-ton gorilla, as he placed her, nestled in his eight-foot hand, on the ledge of the 102-story Empire State Building, putting Wray at the height of New York’s skyline and cinematic immortality. Wray starred in more than 120 pictures opposite Hollywood's biggest stars—Spencer Tracy, Gary Cooper (The Legion of the Condemned, The First Kiss, The Texan, One Sunday Afternoon), Clark Gable, William Powell, and Charles Boyer; from cowboy stars Hoot Gibson and Art Accord to Ronald Colman (The Unholy Garden), Claude Rains, Ralph Richardson, and Melvyn Douglas. She was directed by the masters of the age, from Fred Niblo, Erich von Stroheim (The Wedding March), and Mauritz Stiller (The Street of Sin) to Leo McCarey, William Wyler, Gregory La Cava, “Wild Bill” William Wellman, Merian C. Cooper (The Four Feathers, King Kong), Josef von Sternberg (Thunderbolt), Dorothy Arzner (Behind the Make-Up), Frank Capra (Dirigible), Michael Curtiz (Doctor X), Raoul Walsh (The Bowery), and Vincente Minnelli. The book’s—and Wray’s—counterpart: Robert Riskin, considered one of the greatest screenwriters of all time. Academy Award–winning writer (nominated for five), producer, ten-year-long collaborator with Frank Capra on such pictures as American Madness, It Happened One Night, Mr. Deeds Goes to Town, Lost Horizon, and Meet John Doe, hailed by many, among them F. Scott Fitzgerald, as “among the best screenwriters in the business.” Riskin wrote women characters who were smart, ornery, sexy, always resilient, as he perfected what took full shape in It Happened One Night, the Riskin character, male or female—breezy, self-made, streetwise, optimistic, with a sense of humor that is subtle and sure. Fay Wray and Robert Riskin lived large lives, finding each other after establishing their artistic selves and after each had had many romantic attachments—Wray, an eleven-year-long difficult marriage and a fraught affair with Clifford Odets, and Riskin, a series of romances with, among others, Carole Lombard, Glenda Farrell, and Loretta Young. Here are Wray’s and Riskin’s lives, their work, their fairy-tale marriage that ended so tragically. Here are their dual, quintessential American lives, ultimately and blissfully intertwined.

Screenwriter Robert Riskin (1897-1955) was a towering figure even among the giants of Hollywood's Golden Age. Known for his unique blend of humor and romance, wisecracking and idealism, Riskin teamed with director Frank Capra to produce some of his most memorable films. Pat McGilligan has collected six of the best Riskin scripts: Platinum Blonde (1931), American Madness (1932), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), and Meet John Doe (1941). All of them were directed by Capra, and although Capra's work has been amply chronicled and celebrated, Riskin's share in the collaboration has been overlooked since his death. McGilligan provides the "backstory" for the forgotten half of the team, indispensable counterpoint to the director's self-mythologizing autobiography--and incidentally the missing link in any study of Capra's career. Riskin's own career, although interrupted by patriotic duty and cut short by personal tragedy, produced as consistent, entertaining, thoughtful, and enduring a body of work as any Hollywood writer's. Those who know and love these vintage films will treasure these scripts. McGilligan's introduction offers new information and insights for fans, scholars, and general readers.

Because screenwriter Robert Riskin (1897–1955) spent most of his career collaborating with legendary Hollywood director Frank Capra, his own unique contributions to film have been largely overshadowed. With five Academy Award nominations to his credit for the monumental films Lady for a Day, Mr. Deeds Goes to Town, You Can't Take It with You, Here Comes the Groom, and It Happened One Night (for which he won an Oscar), Riskin is often imitated but rarely equaled. Robert Riskin: The Life and Times of a Hollywood Screenwriter is the first detailed critical examination of the Hollywood pioneer's life and work. In addition to being one of the great screenwriters of the classic Hollywood era, Riskin was also a producer and director, founding his own film company and playing a crucial role in the foundation of the Screen Writers Guild. During World War II, Riskin was one of the major forces behind propaganda filmmaking. He worked in the Office of War Information and oversaw the distribution—and later, production—of films and documentaries in foreign theaters. He was interested in showing the rest of the world more than just an idealized version of America; he looked for films that emphasized the spiritual and cultural vibrancy within the United States, making charity, faith, and generosity of spirit his propaganda tools. His efforts also laid the groundwork for a system of distribution channels that would result in the dominance of American cinema in Europe in the postwar years. Author Ian Scott provides a unique perspective on Riskin and the ways in which his brilliant, pithy style was realized in Capra's enduring films. Riskin's impact on cinema extended far beyond these films as he articulated his vision of a changing America and helped spread Hollywood cinema abroad.

The daughter of the actress best known for "King Kong" and the screenwriter for "It Happened One Night" presents a dual memoir that describes her parents' lives and work, her father's collaborations with Frank Capra, and his early death.

Because screenwriter Robert Riskin spent most of his career collaborating with legendary Hollywood director Frank Capra, Riskin's own unique contributions to film have been largely overshadowed. With five Academy Award nominations to his credit for the monumental films Lady for a Day, Mr. Deeds Goes to Town, You Can't Take It with You, Here Comes the Groom, and It Happened One Night (for which he won the Oscar), Riskin is often imitated but rarely equaled. In Capra's Shadow: The Life and Career of Screenwriter Robert Riskin is the first detailed critical examination of the Hollywood pioneer's life and work. In addition to being one of the great screenwriters of the classic Hollywood era, Riskin was also a producer and director, founding his own film company and playing a crucial role in the foundation of the Screen Writers Guild. During World War II, Riskin was one of the major forces behind propaganda filmmaking. He worked in the Office of War Information and oversaw the distribution -- and later, production -- of films and documentaries in foreign theaters. He was interested in showing the rest of the world more than just an idealized version of America; he looked for films that emphasized the spiritual and cultural vibrancy within the U.S., making charity, faith, and generosity of spirit his propaganda tools. His efforts also laid the groundwork for a system of distribution channels that would result in the dominance of American cinema in Europe in the postwar years. Riskin's postwar work included his production of the 1947 film Magic Town, the tale of a marketing executive who discovers the perfect American small town and uses it for polling. What Riskin created onscreen is not simply a community stuck in an antiquarian past; rather, the town of Grandview observes its own traditions while at the same time confronting the possibilities of the modern world and the challenges of postwar America. Author Ian Scott provides a unique perspective on Riskin and the ways in which his brilliant, pithy style was realized in Capra's enduring films. Riskin's impact on cinema extended far beyond these films as he helped spread Hollywood cinema abroad and articulated his vision of a changing America.

The Chinese Communist system was from its very inception based on an inherent contradiction and tension, and the Cultural Revolution is the latest and most violent manifestation of that contradiction. Built into the very structure of the system was an inner conflict between the desiderata, the imperatives, and the requirements that technocratic modernization on the one hand and Maoist values and strategy on the other. The Cultural Revolution collects four papers prepared for a research conference on the topic convened by the University of Michigan Center for Chinese Studies in March 1968. Michel Oksenberg opens the volume by examining the impact of the Cultural Revolution on occupational groups including peasants, industrial managers and workers, intellectuals, students, party and government officials, and the military. Carl Riskin is concerned with the economic effects of the revolution, taking up production trends in agriculture and industry, movements in foreign trade, and implications of Masoist economic policies for China’s economic growth. Robert A. Scalapino turns to China’s foreign policy behavior during this period, arguing that Chinese Communists in general, and Mao in particular, formed foreign policy with a curious combination of cosmic, utopian internationalism and practical ethnocentrism rooted both in Chinese tradition and Communist experience. Ezra F. Vogel closes the volume by exploring the structure of the conflict, the struggles between factions, and the character of those factions.

In his best-selling Irrational Exuberance, Robert Shiller cautioned that society's obsession with the stock market was fueling the volatility that has since made a roller coaster of the financial system. Less noted was Shiller's admonition that our infatuation with the stock market distracts us from more durable economic prospects. These lie in the hidden potential of real assets, such as income from our livelihoods and homes. But these ''ordinary riches,'' so fundamental to our well-being, are increasingly exposed to the pervasive risks of a rapidly changing global economy. This compelling and important new book presents a fresh vision for hedging risk and securing our economic future. Shiller describes six fundamental ideas for using modern information technology and advanced financial theory to temper basic risks that have been ignored by risk management institutions--risks to the value of our jobs and our homes, to the vitality of our communities, and to the very stability of national economies. Informed by a comprehensive risk information database, this new financial order would include global markets for trading risks and exploiting myriad new financial opportunities, from inequality insurance to intergenerational social security. Just as developments in insuring risks to life, health, and catastrophe have given us a quality of life unimaginable a century ago, so Shiller's plan for securing crucial assets promises to substantially enrich our condition. Once again providing an enormous service, Shiller gives us a powerful means to convert our ordinary riches into a level of economic security, equity, and growth never before seen. And once again, what Robert Shiller says should be read and heeded by anyone with a stake in the economy.

Empiricism today implies the dispassionate scrutiny of facts. But Jessica Riskin finds that in the French Enlightenment, empiricism was intimately bound up with sensibility. In what she calls a "sentimental empiricism," natural knowledge was taken to rest on a blend of experience and emotion. Riskin argues that sentimental empiricism brought together ideas and institutions, practices and politics. She shows, for instance, how the study of blindness, led by ideas about the mental and moral role of vision and by cataract surgeries, shaped the first school for the blind; how Benjamin Franklin's electrical physics, ascribing desires to nature, engaged French economic reformers; and how the question of the role of language in science and social life linked disputes over Antoine Lavoisier's new chemical names to the founding of France's modern system of civic education. Recasting the Age of Reason by stressing its conjunction with the Age of Sensibility, Riskin offers an entirely new perspective on the development of modern science and the history of the Enlightenment.

Nobel Prize-winning economist explains why we need to reclaim finance for the common good The reputation of the financial industry could hardly be worse than it is today in the painful aftermath of the 2008 financial crisis. New York Times best-selling economist Robert Shiller is no apologist for the sins of finance—he is probably the only person to have predicted both the stock market bubble of 2000 and the real estate bubble that led up to the subprime mortgage meltdown. But in this important and timely book, Shiller argues that, rather than condemning finance, we need to reclaim it for the common good. He makes a powerful case for recognizing that finance, far from being a parasite on society, is one of the most powerful tools we have for solving our common problems and increasing the general well-being. We need more financial innovation—not less—and finance should play a larger role in helping society achieve its goals. Challenging the public and its leaders to rethink finance and its role in society, Shiller argues that finance should be defined not merely as the manipulation of money or the management of risk but as the stewardship of society's assets. He explains how people in financial careers—from CEO, investment manager, and banker to insurer, lawyer, and regulator—can and do manage, protect, and increase these assets. He describes how finance has historically contributed to the good of society through inventions such as insurance, mortgages, savings accounts, and pensions, and argues that we need to envision new ways to rechannel financial creativity to benefit society as a whole. Ultimately, Shiller shows how society can once again harness the power of finance for the greater good.

A core principle of modern science holds that a scientific explanation must not attribute will or agency to natural phenomena. "The Restless Clock" examines the origins and history of this, in particular as it applies to the science of living things. This is also the story of a tradition of radicals--dissenters who embraced the opposite view, that agency is an essential and ineradicable part of nature. Beginning with the church and courtly automata of early modern Europe, Jessica Riskin guides us through our thinking about the extent to which animals might be understood as mere machines. We encounter fantastic robots and cyborgs as well as a cast of scientific and philosophical luminaries, including Descartes and Leibnitz, Lamarck and Darwin, whose ideas gain new relevance in Riskin's hands. The book ends with a riveting discussion of how the dialectic continues in genetics, epigenetics, and evolutionary biology, where work continues to naturalize different forms of agency. "The Restless Clock "reveals the deeply buried roots of current debates in artificial intelligence, cognitive science, and evolutionary biology.