The great director John Ford (1894-1973) is best known for classic westerns, but his body of work encompasses much more than this single genre. Jeffrey Richards develops and broadens our understanding of Ford's film-making oeuvre by studying his non-Western films through the lens of Ford's life and abiding preoccupations. Ford's other cinematic worlds included Ireland, the Family, Catholicism, War and the Sea, which share with his westerns the recurrent themes of memory and loss, the plight of outsiders and the tragedy of family breakup. Richards' revisionist study both provides new insights into familiar films such as The Fugitive (1947); The Quiet Man (1952), Gideon's Way and The Informer (1935) and reclaims neglected masterpieces, among them Wee Willie Winkie (1937) and the extraordinary The Long Voyage Home. (1940).

The great director John Ford (1894-1973) is best known for classic westerns, but his body of work encompasses much more than this single genre. Jeffrey Richards develops and broadens our understanding of Ford's film-making oeuvre by studying his non-Western films through the lens of Ford's life and abiding preoccupations. Ford's other cinematic worlds included Ireland, the Family, Catholicism, War and the Sea, which share with his westerns the recurrent themes of memory and loss, the plight of outsiders and the tragedy of family breakup. Richards' revisionist study both provides new insights into familiar films such as The Fugitive (1947); The Quiet Man (1952), Gideon's Way and The Informer (1935) and reclaims neglected masterpieces, among them Wee Willie Winkie (1937) and the extraordinary The Long Voyage Home. (1940).

John Ford's classic films—such as Stagecoach, The Grapes of Wrath, How Green Was My Valley, The Quiet Man, and The Searchers—have earned him worldwide admiration as America's foremost filmmaker, a director whose rich visual imagination conjures up indelible, deeply moving images of our collective past. Joseph McBride's Searching for John Ford, described as definitive by both the New York Times and the Irish Times, surpasses all other biographies of the filmmaker in its depth, originality, and insight. Encompassing and illuminating Ford's myriad complexities and contradictions, McBride traces the trajectory of Ford's life from his beginnings as “Bull” Feeney, the nearsighted, football-playing son of Irish immigrants in Portland, Maine, to his recognition, after a long, controversial, and much-honored career, as America's national mythmaker. Blending lively and penetrating analyses of Ford's films with an impeccably documented narrative of the historical and psychological contexts in which those films were created, McBride has at long last given John Ford the biography his stature demands.

“The best mingling of history with historical magic that I have ever seen.”—Gene Wolfe In a snowbound inn high in the Alps, four people meet who will alter fate. A noble Byzantine mercenary . . . A female Florentine physician . . . An ageless Welsh wizard . . . And Sforza, the uncanny duke. Together they will wage an intrigue-filled campaign against the might of Byzantium to secure the English throne for Richard, Duke of Gloucester—and make him Richard III. Available for the first time in nearly two decades, with a new introduction by New York Times-bestselling author Scott Lynch, The Dragon Waiting is a masterpiece of blood and magic. “Had [John M. Ford] taken The Dragon Waiting and written a sequence of five books based in that world, with that power, he would’ve been George R.R. Martin.” —Neil Gaiman At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Follows the legendary John Ford through a career that spanned more than five decades, drawing on dozens of personal interviews, material from Ford's estate, and film criticism.

"Orson Welles was once asked which directors he most admired. He replied: ""The old masters. By which I mean John Ford, John Ford and John Ford."" John Ford (1894-1973) was a legend in his own time. Hono"

"Collects stories and poems written over the course of two decades, [including] award winners and award nominees, as well as some rarities, amusements, and astonishments"--Publisher marketing.

A thrilling Star Trek: The Original Series adventure featuring Captain James T. Kirk and the USS Enterprise in a strange battle for dilithium crystals against the Klingons. Dilithium. In crystalline form, the most valuable mineral in the galaxy. It powers the Federation’s starships...and the Klingon Empire’s battlecruisers. Now on a small, out-of-the-way planet named Direidi, the greatest fortune in dilithium crystals ever seen has been found. Under the terms of the Organian Peace Treaty, the planet will go to the side best able to develop the planet and its resourses. Each side will contest the prize with the prime of its fleet. For the Federation—Captain James T. Kirk and the Starship Enterprise. For the Klingons—Captain Kaden vestai-Oparai and the Fire Blossom. Only the Direidians are writing their own script for this contest—script that propels the crew of the Starship Enterprise into their strangest adventure yet!

John Ford and John Wayne, two titans of classic film, made some of the most enduring movies of all time. The genre they defined—the Western—and the heroic archetype they built still matter today. For more than twenty years John Ford and John Wayne were a blockbuster Hollywood team, turning out many of the finest Western films ever made. Ford, known for his black eye patch and for his hard-drinking, brawling masculinity, was a son of Irish immigrants and was renowned as a director for both his craftsmanship and his brutality. John “Duke” Wayne was a mere stagehand and bit player in “B” Westerns, but he was strapping and handsome, and Ford saw his potential. In 1939 Ford made Wayne a star in Stagecoach, and from there the two men established a close, often turbulent relationship. Their most productive years saw the release of one iconic film after another: Rio Grande, The Quiet Man, The Searchers, She Wore a Yellow Ribbon, The Man Who Shot Liberty Valance. But by 1960 the bond of their friendship had frayed, and Wayne felt he could move beyond his mentor with his first solo project, The Alamo. Few of Wayne’s subsequent films would have the brilliance or the cachet of a John Ford Western, but viewed together the careers of these two men changed moviemaking in ways that endure to this day. Despite the decline of the Western in contemporary cinema, its cultural legacy, particularly the type of hero codified by Ford and Wayne—tough, self-reliant, and unafraid to fight but also honorable, trustworthy, and kind—resonates in everything from Star Wars to today’s superhero franchises. Drawing on previously untapped caches of letters and personal documents, Nancy Schoenberger dramatically narrates a complicated, poignant, and iconic friendship and the lasting legacy of that friendship on American culture.