A centenary edition of Stuart Timmons' award-winning biography of Harry Hay, founder of the modern gay rights movement.

Enjoy unforgettable characters and irreverent laughs in the Regency series that launched the career of New York Times bestselling author Katie MacAlister You think you've got troubles? As a spy for the Crown, Lord Harry Rosse faced clever and dangerous adversaries-but it's his five offspring who seem likely to send him to Bedlam. At his wits' end, he's advertised for a wife and found one, but perhaps he should have been a bit more forthcoming on certain points... Wait till you meet Harry and Plum... Frederica Pelham, affectionately known as Plum, spent years avoiding the scandals of her past, and is desperate for quiet security and a chance to make a family. What she finds is a titled husband and five little devils who seem bent on their own destruction, not to mention hers. And while all kinds of secrets are catching up with them, Plum knows the real trouble with Harry... is that he's stolen her heart. "Memorable characters, witty dialogue and suspense...in MacAlister's unique style." -RT Book Reviews

This book suggests a merely logically organized society, carried too far, is destructive of culture. Another reason, weaker than science, is more important for cultural direction, and for understanding evolution's direction as well. Such a reason is set within frameworks of contrary directions called here Arrow and Lace. Recognizing these frameworks is essential for understanding social, cultural and individual differences, both locally and world-wide. A much needed companion to any study of Logic and Critical Thinking.

Harry is in trouble at the library. 6 yrs+

A dark comedy of errors made famous by Alfred Hitchcock. With a new introduction by Michael Moorcock On the outskirts of a small town, young Abie discovers the body of a middle-aged man in the woods. Three people are convinced they are responsible for Harry's death: Captain Wiles thinks he accidentally shot him while hunting rabbits; Miss Graveley thinks she may have done more damage than she intended when she hit him with her shoe - and Abie's mother reveals that it might have been her too. The police are called in to investigate, but meanwhile artist Sam Marlow becomes a good-natured sleuth, helping the townspeople to bury, dig up, and rebury the corpse in an effort to evade the authorities and finally discover the truth about Harry.

A secret. A murder. And a mangy old hen that cock-a-doodles in the morning and sets tongues wagging. The Trouble with Harry, by multi-award winning playwright Lachlan Philpott, rips back the curtains on the case of Eugenia Falleni, the notorious 'Man-Woman' murderer of 1920s Sydney.

Was Alfred Hitchcock a cynical trifler with his audience's emotions, as he liked to pretend? Or was he a profoundly humane artist? Most commentators leave Hitchcock's self-assessment unquestioned, but this book shows that his movies convey an affectionate, hopeful understanding of human nature and the redemptive possibilities of love. Lesley Brill discusses Hitchcock's work as a whole and examines in detail twenty-two films, from perennial favorites like North by Northwest to neglected masterpieces like Rich and Strange.

Inspired by the circus performers he saw in his hometown, young Harry Weiss, later known as Houdini, convinces his brother to help him with some of the tricks that he saw and decides that he will become one of the world's greatest escape artists.

An entertaining, in-depth look at the films, including Rear Window, made by Alfred Hitchcock with screenwriter John Michael Hayes. In spring 1953, the great director Alfred Hitchcock decided to take a chance and work with a young writer, John Michael Hayes. The decision turned out to be a pivotal one, for the four films that Hitchcock made with Hayes over the next several years -- Rear Window, To Catch a Thief, The Trouble with Harry, and The Man Who Knew Too Much -- represented an extraordinarily successful change of style. Each of the movies was distinguished by a combination of glamorous stars, sophisticated dialogue, and inventive plots -- James Stewart and Grace Kelly trading barbs in the tensely plotted Rear Window, Cary Grant and Grace Kelly engaging in witty repartee in To Catch a Thief -- and resulted in some of Hitchcock's most distinctive and intimate work, based in large part on Hayes's exceptional scripts. Exploring for the first time the details of this collaboration, Steven DeRosa follows Hitchcock and Hayes through each film from initial discussions to completed picture and presents an analysis of each screenplay. He also reveals the personal story -- filled with inspiration and humor, jealousy and frustration -- of the initial synergy between the two very different men before their relationship fell apart. Writing with Hitchcock not only provides new insight into four films from a master but also sheds light on the process through which classic motion pictures are created.

Throughout his career, Alfred Hitchcock had to contend with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. During their review of Hitchcock's films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. In his award-winning Hitchcock and the Censors, author John Billheimer traces the forces that led to the Production Code and describes Hitchcock's interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming—and occasionally tricking—the censors, and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock's priorities in dealing with the censors, this work highlights the director's theories of suspense as well as his magician-like touch when negotiating with code officials.