Over the course of his career, Jeff Corey (1914-2002) educated movie, television, and theater stars from James Dean to Jane Fonda in the art of acting. Though he worked with some of the most famous talents of his day, one of Corey's greatest pleasures was teaching regular people - accountants, schoolteachers, and lawyers - who had a secret desire to act. In his eyes, anyone could nurture his or her innate "mimetic impulse." Jack Nicholason, one of Corey's most famous students, said, "Acting is life study, and Corey's classes got me into looking at life as an artist." In Improvising Out Loud: My Life Teaching Hollywood How to Act, Jeff Corey narrates his life story first as a successful young actor in Hollywood and later as one of the industry's most revered acting instructors. Corey made a name for himself as a strong character actor in films like The Killers (1946), Home of the Brave (1951). However, everything changed in 1951, when he was summoned before the House Un-American Activities Committee (HUAC). Corey refused to name names before the committee and was promptly blacklisted, forcing him to walk away from his vibrant career as an actor. Later that year, Corey began work as an acting teacher in a small studio, and almost overnight, he became one of the most sought-after instructors in Hollywood, with students such as Kirk Douglas, Rob Reiner, and Tony Perkins. In 1962, when the blacklist ended, Corey was one of the industry's first trailblazers to seamlessly reboot his acting career and he secured roles in some of the classic films of the era, including Butch Cassidy and the Sundance Kid (1969), True Grit (1969), and Little Big Man (1970), in which he starred as the legendary Wild Bill Hickok. The major action of Corey's life was to capture the human heart: in conflict, in terror, in love, and in all of its small triumphs. His memoir, which he wrote with his daughter Emily Corey, provides a unique and personal perspective of the man whose teaching inspired some of Hollywood's biggest names to excel in the roles that made them famous--Dust jacket

If there is one film in the canon of Carl Theodor Dreyer that can be said to be, as Jacques Lacan might put it, his most "painfully enjoyable," it is Gertrud . The film's Paris premier in 1964 was covered by the Danish press as a national scandal; it was lambasted on its release for its lugubrious pace, wooden acting, and old-fashioned, stuffy milieu. Only later, when a younger generation of critics came to its defense, did the method in what appeared to be Dreyer's madness begin to become apparent. To make vivid just what was at stake for Dreyer, and still for us, in his final work, James Schamus focuses on a single moment in the film. He follows a trail of references and allusions back through a number of thinkers and artists (Boccaccio, Lessing, Philostratus, Charcot, and others) to reveal the richness and depth of Dreyer's work--and the excitement that can accompany cinema studies when it opens itself up to other disciplines and media. Throughout, Schamus pays particular attention to Dreyer's lifelong obsession with the "real," developed through his practice of "textual realism," a realism grounded not in standard codes of verisimilitude but on the force of its rhetorical appeal to its written, documentary sources. As do so many of the heroines of Dreyer's other films, such as La Passion de Jeanne d'Arc (1928), Gertrud serves as a locus for Dreyer's twin fixations; written texts, and the heroines who both embody and free themselves from them. Dreyer based Gertrud not only on Hjalmar Soderberg's play of 1906, but also on his own extensive research into the life of the "real" Gertrud, Maria van Platen, whose own words Dreyer interpolated into the film. By using his film as a kind of return to the real woman beneath the text, Dreyer rehearsed another lifelong journey, back to the poor Swedish girl who gave birth to him out of wedlock and who gave him up for adoption to a Danish family, a mother whose existence Dreyer only discovered later in life, long after she had died. James Schamus is a professor in the School of Arts, Columbia University, and the CEO of Focus Features. His screenwriting and producing credits include The Ice Storm, Crouching Tiger, Hidden Dragon , and a number of other films from his long collaboration with Ang Lee. "James Schamus has great faith in the viewer's active role when facing a work of art. He pries open a single image of Carl Dreyer's Gertrud and, like a passionate explorer, leads us through a labyrinth of meanings. For him, this is a journey of discovery, and while guiding us he traces his own map to that most mythical treasure hidden in the depths of cinema: the mirror that reflects the self." - Alfonso Cuarón, director of Y Tu Mamá También "In this stunningly brilliant excursus of a single moment in Carl Theodor Dreyer's Gertrud, James Schamus has written a work of alchemical ekphrasis. Schamus has forged a new mode of film writing that should encourage scholars to emulate the depth and breadth of its investigation." - Anne Friedberg, University of Southern California "Schamus creates an intricate web of connections that sheds light especially on the conflicted relation of image and text in Dreyer's films." - Brigitte Peucker, Yale University "Lovers of cinema know Gertrud as a 'difficult' film, yet one that raises heated passions. To know why Gertrud is a film of passion is also to understand that what makes a great work of cinematic modernism is not always immediately visible. In this engaging and erudite book, James Schamus gives new and compelling reasons to love this often unloved film about the excesses and limits of love. Similar to T. J. Clark's compelling experiment in The Sight of Death, Schamus turns and returns to key moments of the film to unravel the myriad historical, philosophical, and aesthetic threads that design Dreyer's picture of modernism and the impossibility of love. Like Gertrud contemplating a tapestry and refinding a dream, Schamus leads us, in this beautifully written book, to recognize in an image a ciphered desire from which an entire story can unfold." - D. N. Rodowick, Harvard University "Gertrud, at once monumental and mysterious, finds its ideal critic in James Schamus. His brief, probing chapters illuminate the film from so many angles - Dreyer's life, the original play, the history of aesthetics, the institutions of cinema both then and now - that we return to this 'failed masterpiece' with new respect, even awe. Informed by deep research and shrewd looking and listening, this study offers something one seldom finds in modern film studies: tactful eloquence in the face of sheer, enigmatic beauty. Schamus scrutinizes the monument and celebrates the mystery." - David Bordwell, Jacques Ledoux Professor of Film Studies, University of Wisconsin-Madison

Angels Sing in Me is an outstanding collection of the best poems, essays, and stories Unity's poet laureate ever wrote. You will find poems and prose about love and loss, about finding God and finding yourself, about freedom and the search for Truth, about life and death, and about growth. there are stories about Christmas, Jim's favorite topic, and there are personal and archival hotographs that bring the past to life. Here is James Dillet Freeman at his lyrical, passionate best. Here is the poet well loved by millions, whose poems are on the Moon, whose dedication to the art of writing is as inspiring as what he chose to write about. Here is a tribute to the man who came to stand for the best the movement called Unity has produced.

The fourth volume of the San Francisco Poet Laureate Series, All That’s Left is a powerful collection of poems for social justice by street-poet-turned- laureate Jack Hirschman. The volume opens with Hirschman’s autobiographical inaugural address, which vividly traces his career as poet, translator, and agitator. Included are several of Hirschman’s earlier poems, marking successive stages of his poetic development. The poems following the address were composed during his tenure as poet laureate, covering contemporary outrages like post-Katrina New Orleans and the Virginia Tech tragedy, paying homage to fallen poetic comrades like Jack Kerouac and Bob Kaufman, and exploring more personal dimensions of love.

Orcas (or killer whales) are one of the planet's supreme predators. Alongside humans, they have the most complex brains to be found in nature. But while one of these two species has killed 200 million members of its own kind in the twentieth century alone, the other has killed none. This is where Jeffrey Masson's fascinating new book begins: there is something different about humans. Masson has shown us that animals can teach us much about our own emotions - about love (dogs), contentment (cats) and grief (elephants). But they have much to teach us about the negative emotions such as anger and aggression as well, and in unexpected ways. In Beasts he demonstrates that the violence we perceive in the 'wild' is mostly a matter of projection. We link the basest human behaviour to animals, to 'beasts', and claim the high ground for our species. We are least 'human', we think, when we succumb to our primitive, animal instincts. In fact, nothing could be further from the truth. Animal predators kill to survive, but there is nothing in the annals of animal aggression remotely equivalent to the violence mankind has inflicted upon itself. Humans, and humans in our modern industrialised world in particular, are the most violent species in existence. We lack what all other animals have: a check on aggression that serves the species rather than destroys it. And it is here that animals have something vitally important to teach us about ourselves.

Through four sensuous tales, a young man traces his harsh coming of age in Czechoslovakia, where faith in love, country and human kindness must hold out against increasing political disillusionment. His first affections move from a young kitchen girl in the Jewish ghetto who fills his glass tall with scarce milk to a restless married woman, an undercover spy, and a frail woman who can't escape her past suffering. It is Ivan Klíma's keen, ironic eye and naive, lyrical timbre that suffuses these stories with their richness of detail. Klíma's work was banned in his native Czechoslovakia, where he was published in samizdat.

Ghetto Tragedies (1899) is a collection of stories by Israel Zangwill. Raised in London by parents from Latvia and Poland, Zangwill understood the plight of the city's Jewish community firsthand. Having risen through poverty to become an educator and author, he dedicated his career to the voiceless, the oppressed, and the needy, advocating for their rights and bearing witness to their suffering in some of the most powerful novels and stories of the Victorian era. "People who have been living in a Ghetto for a couple of centuries, are not able to step outside merely because the gates are thrown down, nor to efface the brands on their souls by putting off the yellow badges. The isolation imposed from without will have come to seem the law of their being." As a Jewish immigrant who grew up in poverty in London, Israel Zangwill knows that the condition of life in the ghetto changes not just lives, but mentalities. In the fourth installment of his Ghetto series, Zangwill imagines the lives of everyday Jewish people. Zillah and Jossel, successful boot makers; Daniel Peyser, a father of seven daughters; Isaac Levinsky, the son of a pious Rabbi. These are the lives so lovingly shaped in the author's skillful hands, people whose experiences with love, loss, doubt, and faith are not so different from our own. The tales of Jewish life in Ghetto Tragedies earned Zangwill comparisons to Dickens upon publication and helped to establish him as an author with a gift for intensive character study and a passion for political themes. This edition of Israel Zangwill's Ghetto Tragedies is a classic of British literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Ghetto Comedies (1907) is a collection of stories by Israel Zangwill. Raised in London by parents from Latvia and Poland, Zangwill understood the plight of the city's Jewish community firsthand. Having risen through poverty to become an educator and author, he dedicated his career to the voiceless, the oppressed, and the needy, advocating for their rights and bearing witness to their suffering in some of the most powerful novels and stories of the Victorian era. "People who have been living in a Ghetto for a couple of centuries, are not able to step outside merely because the gates are thrown down, nor to efface the brands on their souls by putting off the yellow badges. The isolation imposed from without will have come to seem the law of their being." As a Jewish immigrant who grew up in poverty in London, Israel Zangwill knows that the condition of life in the ghetto changes not just lives, but mentalities. In the fifth and final installment of his Ghetto series, Zangwill imagines the lives of everyday Jewish people. A German painter searches for a Jewish model for his painting of Jesus Christ; Solomon Cohen, or S. Cohn, rises to prominence as a Town Councillor in Sudminster while suppressing his Jewish heritage; Bloomah Beckenstein, a young Jewish girl, is blamed for spreading smallpox at her school in London. These are the lives that take shape in the author's skillful hands, people whose experiences with love, loss, doubt, and faith are not so different from our own. The tales of Jewish life in Ghetto Comedies earned Zangwill comparisons to Dickens upon publication and helped to establish him as an author with a gift for intensive character study and a passion for political themes. This edition of Israel Zangwill's Ghetto Comedies is a classic of British literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Four decades of American life are re-created through the dramatic reminiscences of Benjamin Federov, a typical yet very special man, son of Immigrant Jewish parents, a husband, a father, an admirer of women, a one-time soldier ... and finally, and always, his own man. Federov's story is relived while watching his teen-age son play baseball in the sunshine of a summer day. It tells of the intrigue and exultation of his first love affair, his war experiences, the volatile warmth of his marriage, and the special meaning of his infidelities. Through it all is his quest for a point of balance as he stands on the edge of conventional society, desirous of entering, refusing always to do so.

This study tries to show how we create our world through feelings. By portraying how feeling relies on imagination, idealisation, consummation and the aesthetic, a picture begins to present the basic lineaments of sex and love as well as the other parts of the spectrum to which they belong.

Irma Kurtz arrived in London from New Jersey in the late 1950s. Dismayed by the city's drabness, she quickly moved on to Paris - but returned in 1963, and stayed. Part memoir, part autobiography, this book offers insights into a love affair with London and a portrait of the Age of Aquarius. Kurtz's account of her early career takes in the Central Office of Information, Raymond's Revue Bar, and life at England's first girlie magazine, King, before the post with Nova magazine which set her on the course which led to her prominence as an agony aunt.

Amy Sedaris meets Woody Allen in an uproarious memoir of self discovery. In her critically acclaimed memoir Dork Whore, Iris Bahr finally lost her virginity in the summer between high school and Brown University. In this book, she’s ready for love a year later—but not much wiser. Through all of her uproarious capers, she tries to reconcile her craving for mindblowing sex with her desire for a meaningful relationship—all in an attempt to become an adult. Sort of.

Winner of the Runners-up Prize for the American Book Award for 1985, this is a novel about America in its youth. The story takes place in 1811-12 in a frontier settlement in Richland County, Ohio, and is told through the diary of Thomas Keene -- an educated New Englander tormented by his past. The heart of the narrative is Tom's love for Fanny, a young widow, and his obsession with John Chapman, the half-crazed mystic who became known as Johnny Appleseed. Tom is not only a terse, powerful diarist, but also an artist, whose poems and paintings illuminate the text. The journal reveals every aspect of the American pioneering experience, and Tom's own spiritual journey. In the presence of violence and death, struggling with the dark aspects of sex, he saves himself through art and love. ISBN 0-06-015143-9 :

This book presents a series of studies that cover a wide range of issues relating to Maimonides' political thought, including the basis for political and ethical knowledge; the notion of the "good"; imitatio Dei; apparent contradictions in his position on ethics; the conception of God that he attempts to inculcate to Jewish society at large; and his novel approach to the love and fear of God. Taking into account his medieval Aristotelian and Jewish sources, these explorations also deal with some of the opposing considerations that Maimonides had to balance in developing and presenting his positions on such subjects as the nature of divine law, the static vs. dynamic dimensions of Mosaic law, prophetic and rabbinic authority within Judaism, the reasons for the commandments, and martyrdom. A close reading of the manner in which he formulates his views, in light of their literary and intellectual-historical contexts, allows us a better glimpse of how profound and subtle Maimonides is as a thinker and an educator.

One long poem threaded with personal, evocative poetry constantly moving. A Zen journey. A journey of love. The Absence of Zen. Becoming Jewish. The Kaddish. Blessings. A very readable work of what was known before and what is known now. From "The world is a hard place": We look at our empty handsand feel shadows and shade,sky drying where water has bee,and are left with wind, know themonly by their absence. Water. Wind.-- Melissa Bell review in VISIONS-International 2001

"Mild and sensitive Richard Hieck endured a quietly difficult childhood in Germany. Raised in humble circumstances, Richard was profoundly influenced by his withdrawn mother and by his father, an enigma whose devotion centered not on his five children but on his mysterious career. From his father, Richard inherited an interest in the night sky, learning to love the constellations and to take comfort in the strength of Orion and the warm radiance of Venus. Richard's shadowy, elusive father also influenced him to pursue studies in mathematics, a field offering Richard the discipline he had craved as a child." "Published in 1933, The Unknown Quantity is Hermann Broch's study of the underlying chaos - and, finally, the impossibility - of life within a society whose values are in decay. As Richard seeks to reconcile the conflicting demands of love and science, of passion and reason, societal and family values begin to undermine him and those in orbit around him." --Book Jacket.

15 March 1939: German troops enter Prague and for Czechoslovakian Jews the terror begins. This is the story of one of the survivors. Helen Lewis was a young wife studying philosophy and attending a prestigious school of dance in Prague. In 1942 she and her husband Paul were deported to Terezin, the Jewish ghetto, and then to Auschwitz, where they were separated. A Time to Speak is the story of her survival. Told with impeccable integrity, there is wit and candor in her tale as well as sorrow, and a controlled anger, which never diplays itself in rancor. This is a memorable book of love and loss, friendship and betrayal, terror and humor, joy and despair, good and evil, death and survival. Helen Lewis does not speculate, she never invents. This is only truth, witnessed truth.

Harold Livingston recounts the birth and growth of an industry that was to revolutionize the world and at the same time creates a hero, Simon Conway, who sweeps both the protagonist and the reader across the skies of three continents. Some readers will hate Simon; some will love him; but, like those whose lives he affects, none will forget him.

Lieutenant Colonel Nick Harmon, USAF fighter pilot, is a warrior with no war to fight; a consummate professional whose single-word credo, WIN, has left his personal life in shambles, and now threatens to destroy what he values most, his military career. Desert Storm/Desert Shield may offer him a last glistening chance at resurrecting not only his career, but more importantly, himself as a man. For the beautiful Christine Campbell, too, the war is a golden chance. Already a celebrated television journalist, her planned exclusive interview with Saddam Hussein will propel her to the very peak of her profession. And she is determined to allow nothing, not love, not even the possibility of betraying one of her own countrymen, to stand in the way of her success. To Adnan Dulaimi, the Iraqi army officer who already knows the tragedy and futility of war, this new war is a nightmare come true - more so when he finds himself enmeshed in a plot to overthrow Saddam, thereby forcing him to make a choice no soldier should be faced with: allowing ruin to fall upon his beloved country - or dishonoring his oath of loyalty to the leader of that country, the man responsible for bringing ruin to his people and his land. And for the reservist recalled to active duty, U.S. Army helicopter pilot Major Elaine Nelson, the war represents both personal achievement and personal failure. She, who has struggled so hard to overcome the prejudices of a male-dominated military hierarchy, may find that her success in securing a slot in the regular army may very well be at the cost of her fine marriage to her civilian husband. The profound effect of the Persian Gulf War on the lives of these four is played out in thedeath-filled skies over Baghdad, in the byzantine intrigues of the White House and the Palace at Riyadh, in the paranoia of Iraq's Revolutionary Command Council, and in the bloody streets of Iraqi-occupied Kuwait City.

The bookbridges the conceptual and practical gap between a psychoanalytic focus on the internal world and the dynamics of external reality by examining an array of junctures in which the two perspectives combine to enrich each other. Starting from the inherent bias of the psychoanalytic immersion in working with the internal world, the book deals with a wide array of phenomena in which a binocular perspective is potentially contributing. One such bridge is exemplified by the Group Relations approach, which richly combines psychoanalytic insights with systemic ones. This unique merger is valuable in studying a variety of phenomena both within psychoanalysis and outside it. The work of the analyst in the psychoanalytic setting implies situating oneself on several boundaries - internal and external, love and admiration as well as death and destructive impulses - and the courage and sacrifice demanded by taking up this role. This binocular perspective has significant implications for the formation and maintenance of identity and particularly for the psychoanalytic identity.