Soon to be a major motion picture from Academy Award–winning director Guillermo del Toro and starring Bradley Cooper, Cate Blanchett, Rooney Mara, and Toni Collette. Nightmare Alley begins with an extraordinary description of a carnival-show geek—alcoholic and abject and the object of the voyeuristic crowd’s gleeful disgust and derision—going about his work at a county fair. Young Stan Carlisle is working as a carny, and he wonders how a man could fall so low. There’s no way in hell, he vows, that anything like that will ever happen to him. And since Stan is clever and ambitious and not without a useful streak of ruthlessness, soon enough he’s going places. Onstage he plays the mentalist with a cute assistant (before long his harried wife), then he graduates to full-blown spiritualist, catering to the needs of the rich and gullible in their well-upholstered homes. It looks like the world is Stan’s for the taking. At least for now.

Classic film noir offers more than pesky private eyes and beautiful bad girls—it explores the quest for the not-so-attainable American dream. Winner of the CHOICE Outstanding Academic Title of the Choice ACRL Desperate young lovers on the lam (They Live by Night), a cynical con man making a fortune as a mentalist (Nightmare Alley), a penniless pregnant girl mistaken for a wealthy heiress (No Man of Her Own), a wounded veteran who has forgotten his own name (Somewhere in the Night)—this gallery of film noir characters challenges the stereotypes of the wise-cracking detective and the alluring femme fatale. Despite their differences, they all have something in common: a belief in self-reinvention. Nightmare Alley is a thorough examination of how film noir disputes this notion at the heart of the American Dream. Central to many of these films, Mark Osteen argues, is the story of an individual trying, by dint of hard work or, more often, illicit enterprises, to overcome his or her origins and achieve material success. In the wake of World War II, the noir genre tested the dream of upward mobility and the ideas of individualism, liberty, equality, and free enterprise that accompany it. Employing an impressive array of theoretical perspectives (including psychoanalysis, art history, feminism, and music theory) and combining close reading with original primary source research, Nightmare Alley proves both the diversity of classic noir and its potency. This provocative and wide-ranging study revises and refreshes our understanding of noir's characters, themes, and cultural significance.

by Spain Rodriguez & William Lindsay Gresham An adaptation of the long out-of-print 1930s cult novel of the same name by William Lindsay Gresham, illustrated by legendary underground cartoonist Spain Rodriguez. The story is a study of the lowest depths of showbiz and its sleazy inhabitants and environs, the dark, shadowy world of a second-rate carnival filled with cheap hustlers, scheming grifters, and Machiavellian femme fatales. Gresham was born in Baltimore in 1909, but grew up in New York. Nightmare Alley was highly influenced by the freaks and sideshows he routinely observed at Coney Island as a child. The book depicts the rise of Stan Carlisle from a carnival mentalist to a successful "spiritualist," preying on the rich and gullible matrons of society, to his eventual fall and total disintegration. SC, 136pg, b&w

Previously uncollected nonfiction pieces by Hollywood's ultimate It Girl about everything from fashion to tango to Jim Morrison and Nicholas Cage. With Eve’s Hollywood Eve Babitz lit up the scene in 1974. The books that followed, among them Slow Days, Fast Company and Sex and Rage, have seduced generations of readers with their unfailing wit and impossible glamour. What is less well known is that Babitz was a working journalist for the better part of three decades, writing for the likes of Rolling Stone, Vogue, and Esquire, as well as for off-the-beaten-path periodicals like Wet: The Magazine of Gourmet Bathing and Francis Ford Coppola’s short-lived City. Whether profiling Hollywood darlings, getting to the bottom of health crazes like yoga and acupuncture, remembering friends and lovers from her days hobnobbing with rock stars at the Troubadour and art stars at the Ferus Gallery, or writing about her beloved, misunderstood hometown, Los Angeles, Babitz approaches every assignment with an energy and verve that is all her own. I Used to Be Charming gathers nearly fifty pieces written between 1975 and 1997, including the full text of Babitz’s wry book-length investigation into the pioneering lifestyle brand Fiorucci. The title essay, published here for the first time, recounts the accident that came close to killing her in 1996; it reveals an uncharacteristically vulnerable yet never less than utterly charming Babitz.

OUT NOW IN CINEMAS AND NOMINATED FOR FOUR OSCARS A cool, cruel, rediscovered classic of American noir adapted for cinemas by Guillermo del Toro, starring Bradley Cooper, Cate Blanchett and Rooney Mara 'Read and shudder. And relish' Guardian 'A creepy, all-too-harrowing masterpiece' Washington Post Stanton Carlisle, employed as a carny at a travelling circus watches their freak-show geek - an abject alcoholic, the object of the voyeuristic crowd's gleeful disgust and derision - and wonders how a man could fall so low. There's no way in hell, he vows, that anything like that will ever happen to him. Unlike the tragic figure he sees before him, Stan is young, clever and ambitious and quick to learn from the other carnival acts. Initially teaming up with a beautiful but vulnerable woman as part of a double act in which he mesmerises her, Stan soon leaves his circus days behind him, becoming a successful spiritualist who exploits the weak and the wealthy. But even the very best con-men can meet their match.... With a new introduction from James Smythe, Nightmare Alley is a forgotten classic of Depression-era America: a brilliant, horrifying, compulsive journey into the true darkness of the human mind.

From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.