A baker's dozen of Waldrop's best short stories about movie and TV. Dream Factories and Radio Pictures collects twelve of Howard Waldrop's movie (“dream factories”) and television ("radio pictures") stories from his first four collections, as well as a new article and a new story. The stories — about personalities, history, projections, alternatives, guesses, and the effects they had and keep on having as they and we evolve — are accompanied by Waldrop’s original (in every sense of the word) introductions full of "Strange But True facts uncovered while researching them.” The collection includes: "Fin de Cyclé,” "Save a Place in the Lifeboat for Me,” “French Scenes,” "Heirs of the Perisphere,” "Hoover’s Men,” "Major Spacer in the 21st Century,” and more.

Wilde in the Dream Factory studies the influence of Oscar Wilde's work on American cinema and culture, with close readings of Wilde's works alongside screwball comedies and film noir of the 1930s and 40s.

Darrell Schweitzer interviews seventeen science fiction writers. Included are scintillating conversations with: George R. R. Martin, James Morrow, Jack Dann, Geoffrey A. Landis, Joe W. Haldeman, Zoran Zivkovic, Esther M. Friesner, Kristine Kathryn Rusch, Harry Turtledove, Gregory Frost, Tom Purdom, D. G. Compton, Robert J. Sawyer, Charles Stross, Brian Herbert, Kevin J. Anderson, and Howard Waldrop.

The Washington Post Book World called Howard Waldrop the "resident Weird Mind of his generation, he writes like a honky-tonk angel." Explore this second retrospective volume of Waldrop's work which collects seven of his best novellas and adds new author afterwords to each and you'll agree that no one else can be quite as weird, quite as excellent.

May: gone. June: gone. July: moving fast. Here are gods, snakes, death, and demons. On the lighter, crunchier side: carrots and apples. Twice a year this zine slips out into this world, less internationally than it used to. Maybe I just need to stand at airports and offer it as in-flight reading? Maybe I can persuade an airline to make it their in-flight magazine? How refreshing it would be to pull LCRW out of the seat pocket. Since LCRW only comes out twice a year, that leaves 10 months to be filled in with other zines. Airlines, ping me. We can make this work. In the meantime, good things are here. Made by Gavin J. Grant & Kelly Link. This 2 minute 45 second issue is Lady Churchill’s Rosebud Wristlet 45 and is going out in August 2022. ISSN 1544-7782. Ebook ISBN: 9781618732071. Text: Bodoni Book. Titles: Imprint MT Shadow. LCRW is (usually) published in June (. . .) and November by Small Beer Press, 150 Pleasant St., #306, Easthampton, MA 01027 · [email protected] · smallbeerpress.com/lcrw. twitter.com/smallbeerpress · Printed at Paradise Copies (paradisecopies.com · 413-585-0414). Subscriptions: $24/4 issues (see page 13 of the print issue or PDF for options). Please make checks to Small Beer Press. Library & institutional subscriptions: EBSCO. LCRW is available as a DRM-free ebook through weightlessbooks.com, &c. Contents © 2022 the authors. All rights reserved. Cover illustration “Nausicaa” © 2020 by Ashanti Fortson (ashantifortson.com). Celebrating! Zen Cho’s LA Times Ray Bradbury Book Award for Spirits Abroad and Isabel Yap’s Ladies of Horror Awards for her story “Syringe” and her collection Never Have I Ever. We brought two titles out as ebooks recently: Susan Stinson’s novel Venus of Chalk and Howard Waldrop’s collection Dream Factories and Radio Pictures. RIP Angélica Gorodischer and Geoffrey Goodwin. Since December 2021 Gavin has been on the couch/working from home (not in the office or shop) with something along the lines of CFS or post-viral fatigue so everything Small Beer has & will be slowed down for the foreseeable future. Thanks to Laura, Kate, Beth, Franchie, Diya, & Jess at Book Moon for shipping LCRW (&c) and running the bookshop like a dream. We’re switching websites and point of sales systems at Book Moon so your orders and patience are much appreciated. Please send submissions (especially weird and interesting work from women writers and writers of color), guideline requests, &c. to the address above. Thanks again, authors, artists, readers.

In this book, author Rosalie Schwartz uses the 1933 RKORadio Pictures production Flying Down to Rio to examine the interplay of technology and popular culture that shaped a distinctive twentiethcentury sensibility. The musical comedy connected airplanes, movies, and tourism, ending spectacularly with chorus girls dancing on the wings of airplanes high above Rio de Janeiro, Brazil. The Hollywood fantasy capped three decades during which airplanes and movies engendered new expectations and redefined peoples sense of wellbeing, their personal satisfactions, and their interpersonal relations. Wilbur and Orville Wright flew their airplane in 1903, at the same time that filmmakers began to project edited, filmed stories onto large screens. Spectators found entertainment value in both airplane competitions and motion pictures, and movie producers brought the thrill of aviators antics to a rapidly expanding audience. Meanwhile, air shows and competitions attracted large crowds of tourists. Mass tourism grew as a leisuretime activity, stimulated in part by travelogues and feature films. By 1930, the businessmen who envisioned transporting tourists to their destinations by airplane struggled to overcome the movieexaggerated association of flight with danger. Schwartz weaves these threads into a story of human daring and persistence, political intrigue, and international competition. From Wilbur and Orville to Fred and Ginger, Schwartzs narrative follows the fortunes of aviation and movie pioneers and the foundations and growth of Pan American Airways and RKORadio Pictures, the two companies that came together in Flying Down to Rio. By the end of the twentieth century, aviation, movies, and mass tourism had become powerful global industries, contributing to an internationally connected, entertainmentoriented culture. What was once unthinkable had now become expected.

"Enjoying exclusive access to RKO archives before they were dispersed to the winds, Rick Jewell has crafted a powerful and unprecedented company history that is rich in detail and sharp in insight. Pinpointing both industry ambitions and corporate shenanigans, Jewell offers a tale both gripping and instructive. A major contribution to Hollywood studio history in the classic era." —Dana Polan, author of Scenes of Instruction: The Beginnings of the U.S. Study of Film “Richard Jewell has written a definitive portrait of a major Hollywood studio during the heyday of the movies. Enriched by a lode of archival material, Jewell’s RKO story reconstructs the dynamics of the studio system; its stresses and strains; its logistical challenges; and its in-house rivalries. Some big names are vividly brought to life: David Sarnoff, Pandro Berman, Fred Astaire, Katharine Hepburn, Orson Welles, to name a few. Jewell interweaves RKO’s corporate maneuverings and production agenda with great skill. A more compelling history of a Hollywood major is hard to imagine.” —Tino Balio, author of The Foreign Film Renaissance on American Screens, 1946–1973 “A painstakingly researched and lucidly written business history of RKO Studios from its founding through 1942, Richard Jewell’s RKO Studios: A Titan is Born not only traces the shifting economic fortunes of the studio that gave us King Kong, the Astaire-Rogers musicals, and Citizen Kane but also fills an important gap in our understanding of how the studio system survived and at times even thrived during the Golden Age of Hollywood.” —Charles Maland, author of Chaplin and American Culture