Kirjahaku

Sure, she can be a little overbearing sometimes, but baby-faced Johnny Rizzo loves his fianc e Claire, and he made her a promise: by the time he's 25-years-old, he'll trade his current dream job as a local sports talk radio host (even if it is the 2 a.m. slot) for something that'll pay bigger bucks. And Johnny's nothing, if not a man of his word. Now he's flying to New York to interview for some snoozeville job that Claire's well-to-do father set up. Enter Uncle Terry, who lives in New York, a rascally womanizer bent on turning a day in the Hamptons into a final fling for his nephew. Nice guy Johnny's not interested, of course, but then he meets the lovely Brooke.... A master of the modern relationship dramedy, Edward Burns is once again in top form as a writer, director, and actor. His swaggering bartender Terry is the perfect foil to baby-faced Matt Bush's (Adventureland) Johnny, and together they're great at trading Burns' characteristically sharp dialogue. More contrasts are mined with Anna Wood's image-conscious Claire and Kerry Bische's (Scrubs) Brooke, a blonde-haired and bright-eyed free spirit. Burns wraps a summery tone around Johnny's real crisis: follow through with your promises, or follow your heart?

What is Restoration comedy? What pleasure does it offer its audience, and what significance does it find in exploring that pleasure? Edward Burns here provides a new account of the origins and nature of Restoration comedy as a distinct genre. The book enlarges the usual focus with a wider range of writers than the conventional ossified canon taking in a revaluation of many rarely studied dramatists, a reconsideration of pastoral, and the instatement of women writers as major contributors to the culture of the age. It offers a substantial and original interpretation of one of the most intriguing of seventeenth-century literature forms.

Richard III has the status of a monster, in British culture, and the continuous popularity of Shakespeare’s play has done much to foster this. Deformity and distortion operate through this myth on many levels. This study is an essay in five ‘distortions’, tracking the way the play manipulates and explores fundamental human concerns; the body, history,, theatre, childhood and family and the mirrors and shadows of individual identity and self-knowledge.

An entertaining and inspirational memoir by one of the most prominent practitioners and evangelists of independent filmmaking, and the acclaimed writer, director, and actor ("Saving Private Ryan, ""Friends with Kids, Entourage") whose first film--"The Brothers McMullen"--has become an indie classic. At the age of twenty-five, Ed Burns directed and produced his first film on a tiny $25,000 budget. "The Brothers McMullen" went on to win the Grand Jury Prize at the Sundance Film Festival in 1995, and established the working-class Irish American filmmaker as a talent to watch. In the twenty years since, Burns has made ten more films ("She's the One, Sidewalks of New York, "and "The Fitzgerald Family Christmas"), while also acting in big budget Hollywood movies ("Saving Private Ryan"), hit television shows ("Entourage" and "Mob City"), and pioneering a new distribution network for indie filmmakers online and with TV's On Demand service ("why open a film in twenty art houses when you can open in twenty million homes?"). Inspired by Burns's uncompromising success both behind and in front of the camera, students and aspiring filmmakers are always asking Burns for advice. In "Independent Ed," Burns shares the story of his two remarkable decades in a fickle business where heat and box office receipts are often all that matter. He recounts stories of the lengths he has gone to to secure financing for his films, starting with "The Brothers McMullen "(he told his father: "Shooting was the twelve best days of my life"). How he found stars on their way up--including Jennifer Aniston and Cameron Diaz--to work in his films, and how he's adhered religiously to the dictum of writing what you know, working as if he was just starting out, and always "looking for the next twelve best days of my life." Chronicling the struggles and the long hours as well as the heady moments when months of planning and writing come to fruition, "Independent Ed" is a must-read for movie fans, film students, and everyone who loves a gripping tale about what it takes to forge your own path in work and life.

An Irish-American family comes to life through the eyes of a 13-year-old boy in this debut novel by actor-filmmaker Ed Burns. Immigrants and storytellers, lilting voices and Long Island moxy are all part of this colorful Irish-Catholic community in 1970s New York. A Kid from Marlboro Road opens at a wake, as our twelve-year-old narrator, an aspiring writer, takes in the death of his beloved grandfather, Pop, a larger-than-life figure to him. The overflowing crowd includes sandhogs in their muddy work boots, old Irish biddies in black dresses and cops in uniform, along with the family in mourning. There's an open casket, the first time he's seen a dead person. Later, at the bar across the street, he tells a story to the assembled crowd about the day his dad proposed to his mom, and how he almost got beat up by her brothers for it, and then how Pop made him propose twice. His mom calls him "Kneenie," and with her husband and older son Tommy lost to her, he's the best thing she's got. He sees her struggling with depression and is worried his parents might get divorced, but doesn't know how to help--since like his brother and father before him he knows he'll also abandon her soon enough. Stories cascade between the prior generation's colorful origins in the Bronx and the softer world of Gibson, the town on Long Island where the family lives now. There are scenes in the Rockaways, at Belmont Race Track, and in Montauk. Out of individual struggles a collective warmth emerges, a certain kind of American story, raucous and joyous. Includes black and white photographs from the author's Irish-American New York family history.

An Irish-American family comes to life through the eyes of a 12-year-old boy in this debut novel by actor-filmmaker Ed Burns. Immigrants and storytellers, lilting voices and Long Island moxie are all part of this colorful Irish-Catholic community in 1970s New York. Our twelve-year-old narrator, an aspiring writer, is at a wake. He takes in the death of his beloved grandfather, Pop, a larger-than-life figure. The overflowing crowd--a sign of a life well lived--comprises sandhogs in their muddy work boots, Irish grandmothers in black dresses, cops in uniform, members of the family deep in mourning. He watches it all, not yet realizing how this Irish American world defines who he is and who he will become. His older brother Tommy has no patience for rules and domesticities, his father is emotionally elsewhere. This boy knows he's the best thing his mother's got, though her sadness envelops them both. In A Kid from Marlboro Road, past and present intermingle as family stories are told and retold. The narrative careens between the prior generation's colorful sojourns in the Bronx and Hell's Kitchen and the softer world of Gibson, the town on Long Island where they live now. There are scenes in the Rockaways, at Belmont racetrack, and in Montauk. Edward Burns's buoyant first novel is a bildungsroman. Out of one boy's story a collective warmth emerges, a certain kind of American tale, raucous and joyous. With eight pages of photographs of some of the people and historical locations that inspired characters and scenes in the novel.

The purpose of this book is to focus on how the mental retardation/intellectual disability category is used to stigmatize and deprive children of educational opportunity, many of whom are black, and then to deny adults, many of whom are also black, lesser culpability for capital crimes as mandated by the Supreme Court in Atkins v. Virginia in 2002. For many black children the mental retardation/intellectual disability category has been a ready solution, incorrect as it is, to explain the effects of segregation and discrimination. Likewise for adults, States routinely re-interpret and contort the definition of intellectual disability so that the task for identifying offenders who warrant lesser culpability is very much "discretionary, haphazard, and discriminatory" (Furman v. Georgia, 408 U.S. 238, 1972).The determination of mild Intellectual disability and the death penalty is ripe with racism. This has been the case for children "denied the opportunity of an education...made available to all on equal terms" as promised in Brown and for adults seeking Atkins relief. Hopefully, this book will provide some insight into the relationship between mild intellectual disability for children, and the many factors that should be considered when determining whether an adult offender is entitled to lesser culpability when a State seeks the death penalty.