*Includes pictures. *Includes Lombard and Gable's quotes about their lives and careers. *Comprehensively analyzes their film careers. *Includes a bibliography for further reading. "The only reason they come to see me is that I know that life is great - and they know I know it." - Clark Gable "Carole Lombard's tragic death means that something of gaiety and beauty have been taken from the world at a time they are needed most." - Errol Flynn The 1930s were also a time in which Hollywood boasted an unprecedented array of famous leading men. Gary Cooper, Cary Grant, James Stewart, and Fred Astaire were just a handful of the A-list stars of the decade, and it is in this context that the achievements of Clark Gable are particularly remarkable. Best known for his role in Gone With the Wind (1939), Gable reached the ranks of the Hollywood elite well before the end of the decade through acting in films such as It Happened One Night (1934) and Mutiny on the Bounty (1935). Gable had a unique appeal that captivated Depression-era audiences; while Cary Grant offered a sophisticated charm and Fred Astaire was tied to the musical genre, Gable brought an air of sophistication that was less comical than that of Grant and appealed to both genders, unlike Astaire. At a time when so many Americans were financially destitute, Gable managed to appear classy without coming across as snobbish. At the same time, his virile masculinity was not overly macho or misogynist. For these reasons, Gable was able to captivate male and female viewers alike, and his mass appeal was a driving force behind the commercial success of Gone With the Wind, possibly the most beloved Hollywood film ever made. As iconic director John Huston once stated, "Clark Gable was the only real he-man I've ever known, of all the actors I've met." Even if Gable is perhaps less widely-known than Grant or Astaire among 21st century audiences, examining the effect he had on viewers during the 1930s and 1940s allows a better understanding of Hollywood during its Golden Age. In conjunction with that, his career served as a sort of response to his upbringing and cultural background. In fact, there was a significant gap between his glamorous roles on the movie screen and the real-life adversity he faced from an early age. Gable faced great challenges throughout his entire career, from the death of his biological mother to the death of wife Carol Lombard in 1942. As with any famous actor, he was the recipient of great fortune, yet it is important to recognize that his many opportunities did not preclude him from experiencing great pain and tragedy. On January 16, 1942, just a few weeks after Pearl Harbor brought the United States into World War II, the nation suffered what were considered the first civilian deaths of the war when a plane crashed into the side of a mountain southwest of Las Vegas. Aboard the plane were 15 servicemen, but the plane was also carrying one of Hollywood's biggest stars: actress Carole Lombard. Although Lombard's death and her marriage to Gone With the Wind star Clark Gable have overshadowed her career, her untimely death in 1942 cut short the life of one of Hollywood's most prominent stars at the time. In fact, Lombard's platinum look and her unique mannerisms had helped her become the biggest star of the screwball genre by the end of the 1930s, and her movies were so successful that she was the highest paid actress in Hollywood by the start of the 1940s. As English critic Graham Greene said of her, "Platinum blonde, with a heart-shaped face, delicate, impish features and a figure made to be swathed in silver lam , Lombard wriggled expressively through such classics of hysteria as Twentieth Century and My Man Godfrey." Indeed, despite dying at the age of 33, the American Film Institute recognized her as one of the biggest film icons of the 20th century.
Mary Campbell-Sposito, CANIS MAJOR: Introducing Raymond Queneau/Gilbert Sorrentino, Variations for Raymond Queneau/* Raymond Queneau, Interviews with Georges Charbonnier -- No. 5?/Raymond Queneau, Technique of the Novel/Raymond Queneau, From Children of Clay/Harry Mathews, Charity Begins at Home/Gilbert Pestureau, The Art of the Novel in Saint Glinglin/Jacques Jouet, 'Interludes' from Raymond Queneau/Claude Debon, Queneau and Poetic Illusion/Barbara Wright, Translating Queneau/Andre Blavier, Droles de Drames/Jacques Roubaud The Birth of a Form: Elementary Morality/Selected Bibliography/Selected Translations of Queneau's Works into English/Victoria Frenkel Harris, Carole Maso: An Introduction and an Interpellated Interview/Carole Maso, Except Joy: on Aureole/Carole Maso, Traveling Light from The Bay of Angels/Louise DeSalvo, 'We Will Speak and Bear Witness': Storytelling as Testimony and Healing in Ghost Dance/Charles B.Harris, The Dead Fathers: The Rejection of Modernist Distance in The Art Lover/Victoria Frenkel Harris, Emancipating the Proclamation: Gender and Genre in AVA/Nicole Cooley, 'There's Not One Story That Will Change This': The American Woman in the Chinese Hat/Jeffrey DeShell, Between the Winding Sheets: The American Woman in the Chinese Hat/Steven Moore, A New Language for Desire: Aureole/A Carole Maso Checklist
A young woman named Judith, aka Carol or Carole, depending on her age and moods, finds her true love during the Second World War, moves from the windy city of Chicago to the Pacific Northwest where she settles as a married woman in a house among fir trees to pursue her teaching career.Meanwhile her husband creates a small bamboo grove in their back garden before his health condition worsens. As in an impressionist painting, touches after touches, we discover Carole's surprising destiny and what each of the three men in her life brings to her personality. Instead of evoking 19th century France and its colonies as in her trilogy of 'The Reluctant Paris Rebel, ' 'Southbound French Settlers' and 'The Breton Black Foot, ' Claudine Fisher sets her latest novel in the U.S., from 1938, through WWII, the 1980s' and 1990s', to modern day. In 'Call me Carole' the heroine remains connected to France thanks to her grandmother's roots, her French language teaching at the university, her wild imaginings and personal idiosyncrasies
For many centuries, the history of the crusades, as written by Western historians, was based solidly on Western sources. Evidence from the Islamic societies that the crusaders attacked was used only sparingly – in part because it was hard for most westerners to read, and in part because much of it was inaccessible even for historians who did speak Arabic. Carole Hillenbrand set out to re-evaluate the sources for the crusading period, not only looking with fresh eyes at known accounts, but also locating and utilizing new sources that had previously been overlooked. Her work involved her in conducting extensive evaluations of the new sources, assessing their arguments, their evidence, and their reasoning in order to assess their value and (using the critical thinking skill of analysis, a powerful method for understanding how arguments are built) to place them correctly in the context of crusade studies as a whole. The result is not only a history that is more balanced, better argued and more adequate than most that have gone before it, but also a work with relevance for today. At a time when crusading imagery and mentions of the current War on Terror as a ‘crusade’ help to fuel political narrative, Hillenbrand's evaluative work acts as an important corrective to oversimplification and misrepresentation.
For many centuries, the history of the crusades, as written by Western historians, was based solidly on Western sources. Evidence from the Islamic societies that the crusaders attacked was used only sparingly – in part because it was hard for most westerners to read, and in part because much of it was inaccessible even for historians who did speak Arabic. Carole Hillenbrand set out to re-evaluate the sources for the crusading period, not only looking with fresh eyes at known accounts, but also locating and utilizing new sources that had previously been overlooked. Her work involved her in conducting extensive evaluations of the new sources, assessing their arguments, their evidence, and their reasoning in order to assess their value and (using the critical thinking skill of analysis, a powerful method for understanding how arguments are built) to place them correctly in the context of crusade studies as a whole. The result is not only a history that is more balanced, better argued and more adequate than most that have gone before it, but also a work with relevance for today. At a time when crusading imagery and mentions of the current War on Terror as a ‘crusade’ help to fuel political narrative, Hillenbrand's evaluative work acts as an important corrective to oversimplification and misrepresentation.
Carole Crispin loves everything about Christmas and makes a tradition of celebrating the season. This year, though, she's grieving the loss of her grandfather, who has willed her his High River Ranch on the outskirts of Sweetwater Springs, Montana. Carole's despicable male cousins are furious she's inherited everything. They devise a plan to take control of the ranch by forcing her into a shotgun wedding to one of them. Overhearing their scheming, she escapes. Lost in a snowstorm, she finds shelter in a remote cabin. Rancher Halloran James, desperate to avoid memories of a tragic Christmas that still haunts him, intends to hide out in an isolated cabin on the outskirts of his property until the holidays are past and all reminders put away. When he reaches his sanctuary, to his shock, an elfin beauty has turned his hideaway into a Christmas wonderland. Hap is forced to revise his plans for the holidays when she proposes a marriage of convenience to save her inheritance. Seems he'll be protecting Carole from greedy, dangerous cousins. But celebrating Christmas? Still not on his agenda.
This long overdue examination of Carole King offers her legions of fans the chance to see how her work has developed over time, understand what her music means to other contemporary performers, and grasp its significance in American music at large. Name a Carole King song. Anyone who's been a fan of popular music over the past 45 years should be able to do it with ease. Will You Still Love Me Tomorrow?, Take Good Care Of My Baby, The Locomotion, One Fine Day, Up On The Roof, A Natural Woman, I Feel The Earth Move, Smackwater Jack, It's Too Late, So Far Away, You've Got A Friend. Few writers can claim such a formidable catalogue. Fewer still can with justice claim to have spoken for a generation. After collaborating with Paul Simon in high school and composing hits for The Shirelles; Aretha Franklin; The Monkees; Blood, Sweat & Tears; and other artists throughout the 1960s, Carole King launched herself into the spotlight with the 1971 album Tapestry. Tapestry sold over 22 million copies, and was one of the most important feminist statements of the day, not just because of the words or music, but because King maintained almost total control over her product. Carole King has continued composing and performing breakthrough work since Tapestry, though over the past 15 years audiences are more likely to have heard her music in films such as One True Thing, You've Got Mail, and A League of Their Own. In 1988, the National Academy of Songwriters presented King and her one-time husband and collaborator Gerry Goffin with the Lifetime Achievement Award. Goffin and King were inducted into the Rock and Roll Hall of Fame as non-performers in 1990. Carole King was inducted into the Songwriters Hall of Fame in 1986. Although Tapestry still stands as King's masterpiece, she recorded many other albums, including Fantasy, Colour of Your Dreams, City Streets, Pearls, Wrap Around Joy, Touch the Sky, Simple Things, Thoroughbred, Love Makes the World, Welcome Home, and Really Rosie. All of these are discussed in the course of this volume, as are songs covered and performed by other artists.
*Includes pictures. *Includes Lombard's quotes about her life and career. *Includes a bibliography for further reading. "Carole Lombard's tragic death means that something of gaiety and beauty have been taken from the world at a time they are needed most." - Errol Flynn A lot of ink has been spilled covering the lives of history's most influential figures, but how much of the forest is lost for the trees? In Charles River Editors' American Legends series, readers can get caught up to speed on the lives of America's most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. On January 16, 1942, just a few weeks after Pearl Harbor brought the United States into World War II, the nation suffered what were considered the first civilian deaths of the war when a plane crashed into the side of a mountain southwest of Las Vegas. Aboard the plane were 15 servicemen, but the plane was also carrying one of Hollywood's biggest stars: actress Carole Lombard. Although Lombard's death and her marriage to Gone With the Wind star Clark Gable have overshadowed her career, her untimely death in 1942 cut short the life of one of Hollywood's most prominent stars at the time. In fact, Lombard's platinum look and her unique mannerisms had helped her become the biggest star of the screwball genre by the end of the 1930s, and her movies were so successful that she was the highest paid actress in Hollywood by the start of the 1940s. As English critic Graham Greene said of her, "Platinum blonde, with a heart-shaped face, delicate, impish features and a figure made to be swathed in silver lam , Lombard wriggled expressively through such classics of hysteria as Twentieth Century and My Man Godfrey." Indeed, despite dying at the age of 33, the American Film Institute recognized her as one of the biggest film icons of the 20th century. Lombard has been memorialized in many fitting ways as an actress, but one of her biggest contributions to Hollywood was the blond archetype that the film industry used successfully for decades in screwball comedies, paving the way for the success of women like Marilyn Monroe. Perhaps the most remarkable aspect of that fact is that it was actually based on Carole's gushing personality. As famous director Howard Hawks noted of her, "She acted like a schoolgirl ... and she was stiff, she would try and imagine a character and then act according to her imaginings instead of being herself." When Lombard started simply portraying herself, Hawks told actor John Barrymore, " Y] ou've just seen a girl that's probably going to be big a star, and if we can just keep her from acting, we'll have a hell of a picture." American Legends: The Life of Carole Lombard examines the life and career of one of the Golden Era of Hollywood's biggest stars. Along with pictures of important people, places, and events, you will learn about Carole Lombard like never before, in no time at all.
Two Lovers is the true love story between legendary Hollywood film actress Carole Lombard, and the famous singer known as "The Valentino of the Radio," Russ Columbo. Recently divorced from her first husband, William Powell (The Thin Man), Carole attends a performance at The Cocoanut Grove to hear popular radio star and composer Russ Columbo sing, beginning an unforgettable romance. "Beverly Adam's fascinating account of Russ and Carole's star-crossed love story is a must read." Damon Leigh, President of The Russ Columbo Society.
*Includes pictures. *Includes Lombard's quotes about her life and career. *Includes a bibliography for further reading. "Carole Lombard's tragic death means that something of gaiety and beauty have been taken from the world at a time they are needed most." - Errol Flynn A lot of ink has been spilled covering the lives of history's most influential figures, but how much of the forest is lost for the trees? In Charles River Editors' American Legends series, readers can get caught up to speed on the lives of America's most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. On January 16, 1942, just a few weeks after Pearl Harbor brought the United States into World War II, the nation suffered what were considered the first civilian deaths of the war when a plane crashed into the side of a mountain southwest of Las Vegas. Aboard the plane were 15 servicemen, but the plane was also carrying one of Hollywood's biggest stars: actress Carole Lombard. Although Lombard's death and her marriage to Gone With the Wind star Clark Gable have overshadowed her career, her untimely death in 1942 cut short the life of one of Hollywood's most prominent stars at the time. In fact, Lombard's platinum look and her unique mannerisms had helped her become the biggest star of the screwball genre by the end of the 1930s, and her movies were so successful that she was the highest paid actress in Hollywood by the start of the 1940s. As English critic Graham Greene said of her, "Platinum blonde, with a heart-shaped face, delicate, impish features and a figure made to be swathed in silver lam , Lombard wriggled expressively through such classics of hysteria as Twentieth Century and My Man Godfrey." Indeed, despite dying at the age of 33, the American Film Institute recognized her as one of the biggest film icons of the 20th century. Lombard has been memorialized in many fitting ways as an actress, but one of her biggest contributions to Hollywood was the blond archetype that the film industry used successfully for decades in screwball comedies, paving the way for the success of women like Marilyn Monroe. Perhaps the most remarkable aspect of that fact is that it was actually based on Carole's gushing personality. As famous director Howard Hawks noted of her, "She acted like a schoolgirl ... and she was stiff, she would try and imagine a character and then act according to her imaginings instead of being herself." When Lombard started simply portraying herself, Hawks told actor John Barrymore, " Y] ou've just seen a girl that's probably going to be big a star, and if we can just keep her from acting, we'll have a hell of a picture." American Legends: The Life of Carole Lombard examines the life and career of one of the Golden Era of Hollywood's biggest stars. Along with pictures of important people, places, and events, you will learn about Carole Lombard like never before, in no time at all.
Le Tr sor de la Citadelle Laferri re Deux adolescents, Wally et Carole, sont heureux de partir en vacances au Cap-Ha tien chez leurs cousins, Bernard et Kelly. Ces derniers leur ont tant vant la beaut et la majest de la citadelle Henry Christophe tr nant sur le pic Laferri re qu'ils n'ont plus qu'une seule h te: visiter celle-ci Tous les quatre, ils r vent de vacances inoubliables. Au programme: baignades la piscine, farniente Labadie et Cormier Beach, deux des plus belles plages de la Cara be, d gustation de la d licieuse cuisine de l'h tel de tante Berthe et de l'oncle Marcel d nomm Aux Trois Colombes, visites de monuments historiques tels que le Palais de Sans Souci et la Citadelle. Mais, h las tous ces beaux projets vont tre quelque peu chambard s. En effet, un guide, rencontr lors de leur visite la Citadelle, leur parlera d'un tr sor laiss par le roi Henry Christophe. Et, hop c'est le point de d part d'une grande aventure Le Tr sor de la Citadelle Laferri re, une aventure poustouflante crite avec la m me passion et la m me verve blouissante que les d sormais c l bres: La L gende de Quisqueya et La L gende de Quisqu ya II. Une histoire pleine d' motions et de rebondissements qui ne manquera pas de faire frissonner les lecteurs de tous ges. Sortil ges au Carnaval de Jacmel Wally, Carole et le singe Pablo, nos jeunes h ros de Le Tr sor de la Citadelle Laferri re, ont t invit s passer le weekend du carnaval chez leur cousine Flora Jacmel. Ils sont tout heureux d'assister ce d fil de masques la r putation l gendaire. Mais, surprise Le lendemain de leur arriv e dans la ville, le carnaval tout entier, avec ses costumes, ses reines, ses chars all goriques et ses musiciens, dispara t comme par enchantement Nos intr pides aventuriers pourront-ils lucider ce myst re qui plonge la cit dans une profonde cons- ternation ? Sauront-ils d jouer le plan machiav lique du fameux sorcier, Adonis Frais Divers, et sauver ainsi Jacmel de la faillite ? L' le myst rieuse du Capitaine Morgan C'est la Toussaint, c'est la f te des Morts Wally, Carole et Pablo le singe, nos jeunes h ros de Le Tr sor de la Citadelle Laferri re et de Sortil ges au carnaval de Jacmel sont quelque peu d courag s. Ils avaient longtemps esp r pouvoir passer la semaine de vacances de la f te des Morts au Cap-Ha tien avec leurs cousins Bernard et Kelly, ceux de leur grande aventure la Citadelle, mais, malheureusement, ils avaient vu ce vieux r ve s'effriter lorsque leur m re leur avait annonc que ceux-ci partaient pour Montr al visiter leur grand-m re paternelle. Nos jeunes h ros se r signaient d j s'ennuyer ferme quand leur oncle, Rams s Maurel, d barqua chez eux et les invita l' le vache. Une quipe d'experts en arch ologie sous-marine allait s journer son h tel. Le Morgan, pour extirper de l'eau une ancienne, pave le Pandora, ayant appartenu au c l bre pirate, le capitaine Henry Morgan, et il voulait absolument que ces neveux puissent vivre ce moment unique. Gris s d'avance par cette perspective, Wally et Carole avaient accept son invitation avec une joie immense. Mais, au lieu de sortir le Pandora du fond des mers ce fut plut t, surprise, le squelette, tout en os, d'un navire-fant me qui monta la surface. Ce fait extraordinaire sera le point de d part d'une nouvelle et incroyable aventure. Nos jeunes intr pides pourront-ils chapper la mal diction des zombis ? Le sorcier H las Dorm bien saura-t-il d jouer les plans de Baron Samedi ?
A book of patterns for making Tapestry Loom beaded items with Miyuki Delica size 11 beads. There are large images, a list of the color numbers with amounts and a word chart for use in making items. The patterns are: Ohh-La-La by Carole Keene 12" x 12", 50 colors Salmon Lilies 12.75" x 10", 45 matte colors These would be lovely for your home. Colorful and in large print.
