Hollywood, 1961. After a blow to the head, the beautiful Viktor Scott wakes with no memory of her attempted rape that left her permanently deaf. But her rich father has stifled the police investigation for fear of bad publicity. When Viktor begins a new life as a cat burglar, it seems only a matter of time before she crosses paths with the straight-shooting Lt. Clegg. But better to run afoul of a hard-bitten detective than his quarry: a serial killer with a twisted appetite for posing his victims' corpses as Playboy centerfolds. A mid-century noir redolent of Ross MacDonald and James Ellroy.

As fear of the "Playboy" killer rises in the city, the pressure is on for LAPD Lt. Jordan to find the twisted murderer who stages boudoir photos with his victims' corpses. But all he's run into are dead ends, and when a mayoral hopeful backs his rival Lt. Samson, Jordan's left feeling like his best days as a detective are behind him. Meanwhile, Viktor Scott's quest to find out what happened to her the night she was almost raped takes a perilous turn, forcing her to blackmail her father's wealthy friends, placing her once more in harm's way.

Insights into Vonnegut's extensive nonfiction as a key to understanding innovation in his novels Vonnegut in Fact offers a thorough assessment of the artistry of Kurt Vonnegut, known not only as the best-selling author of Slaughterhouse-Five, Timequake, and a dozen other novels, but also as the most widely recognized public spokesperson among writers since Mark Twain. Jerome Klinkowitz traces the emergence of Vonnegut's nonfiction since the 1960s, when commentary and feature journalism replaced the rapidly dying short story market. Offering close readings and insightful criticism of Vonnegut's three major works of nonfiction, his many uncollected pieces, and his unique manner of public speaking, Klinkowitz explains how Vonnegut's personal visions developed into a style of great public responsibility that mirrored the growth of his fiction. Klinkowitz views his subject as a gentle manipulator of popular forms and an extremely personable figure; what might seem radically innovative and even iconoclastic in his fiction becomes comfortably avuncular and familiarly American when followed to its roots in his public spokesmanship.

Kurt Vonnegut is one of the most popular and admired authors of post-war American literaturefamous both for his playful and deceptively simple style as well as for his scathing critiques of social injustice and war. Criti.

Before Star Trek, there was Space Patrol. Science fiction television has its roots in this live, action-packed series that captured the imagination of Americans from 1950 to 1955, when space travel was just a dream. This book explores the freewheeling spirit of live TV, where anything could go wrong before millions of viewers--and often did. It spotlights (often in personal interviews) the risk-taking Space Patrol cast and crew who laid vital groundwork for television today. Included are episode logs for both television and radio shows as well as a complete guide to Space Patrol memorabilia.

We live in a time much like the postwar era. A time of arch political conservatism and vast social conformity. A time in which our nation’s leaders question and challenge the patriotism of those who oppose their policies. But before there was Jon Stewart, Al Franken, or Bill Maher, there were Mort Sahl, Stan Freberg, and Lenny Bruce—liberal satirists who, through their wry and scabrous comedic routines, waged war against the political ironies, contradictions, and hypocrisies of their times. Revel with a Cause is their story. Stephen Kercher here provides the first comprehensive look at the satiric humor that flourished in the United States during the 1950s and early 1960s. Focusing on an impressive range of comedy—not just standup comedians of the day but also satirical publications like MAD magazine, improvisational theater groups such asSecond City, the motion picture Dr. Strangelove, and TV shows like That Was the Week That Was—Kercher reminds us that the postwar era saw varieties of comic expression that were more challenging and nonconformist than we commonly remember. His history of these comedic luminaries shows that for a sizeable audience of educated, middle-class Americans who shared such liberal views, the period’s satire was a crucial mode of cultural dissent. For such individuals, satire was a vehicle through which concerns over the suppression of civil liberties, Cold War foreign policies, blind social conformity, and our heated racial crisis could be productively addressed. A vibrant and probing look at some of the most influential comedy of mid-twentieth-century America, Revel with a Cause belongs on the short list of essential books for anyone interested in the relationship between American politics and popular culture.

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