Blackrock, a new villain, makes his presence known when his powers go out of control! Can Superman take him out without becoming a bigger menace to the citizens of Metropolis?

The first full-fledged history not just of the Man of Steel but of the creators, designers, owners, and performers who made him the icon he is today, from the New York Times bestselling author of Satchel and Bobby Kennedy “A story as American as Superman himself.”—The Washington Post Legions of fans from Boston to Buenos Aires can recite the story of the child born Kal-El, scion of the doomed planet Krypton, who was rocketed to Earth as an infant, raised by humble Kansas farmers, and rechristened Clark Kent. Known to law-abiders and evildoers alike as Superman, he was destined to become the invincible champion of all that is good and just—and a star in every medium from comic books and comic strips to radio, TV, and film. But behind the high-flying legend lies a true-to-life saga every bit as compelling, one that begins not in the far reaches of outer space but in the middle of America’s heartland. During the depths of the Great Depression, Jerry Siegel was a shy, awkward teenager in Cleveland. Raised on adventure tales and robbed of his father at a young age, Jerry dreamed of a hero for a boy and a world that desperately needed one. Together with neighborhood chum and kindred spirit Joe Shuster, young Siegel conjured a human-sized god who was everything his creators yearned to be: handsome, stalwart, and brave, able to protect the innocent, punish the wicked, save the day, and win the girl. It was on Superman’s muscle-bound back that the comic book and the very idea of the superhero took flight. Tye chronicles the adventures of the men and women who kept Siegel and Shuster’s “Man of Tomorrow” aloft and vitally alive through seven decades and counting. Here are the savvy publishers and visionary writers and artists of comics’ Golden Age who ushered the red-and-blue-clad titan through changing eras and evolving incarnations; and the actors—including George Reeves and Christopher Reeve—who brought the Man of Steel to life on screen, only to succumb themselves to all-too-human tragedy in the mortal world. Here too is the poignant and compelling history of Siegel and Shuster’s lifelong struggle for the recognition and rewards rightly due to the architects of a genuine cultural phenomenon. From two-fisted crimebuster to über-patriot, social crusader to spiritual savior, Superman—perhaps like no other mythical character before or since—has evolved in a way that offers a Rorschach test of his times and our aspirations. In this deftly realized appreciation, Larry Tye reveals a portrait of America over seventy years through the lens of that otherworldly hero who continues to embody our best selves.

To his own generation Bernard Shaw's greatest creation seemed to be himself. Playwright, wit, socialist, polemicist and irresistible charmer, he was the most controversial literary figure of his age and the scourge of all that was most oppressive in late-Victorian England. In his writing and public speeches, he embodied the unfamiliar virtues of reason, sense and unanswerable good humor. And yet, as the opening volume of this masterly four-volume biography makes clear, Shaw's invention of this monumental figure was a paradoxical method of concealment and his way of coming to terms with a world that had abandoned him in childhood. - Jacket flap.

(Limelight). This book offers 18 of the best walking tours you'd ever want to take of the greatest venues of movie scenes in New York City. In one volume, Katz updates the two best-selling Limelight Editions guidebooks, Manhattan on Film and Manhattan on Film 2 to include films released over the past six years as well as changes to New York City neighborhoods, especially lower Manhattan. Each tour is illustrated with photos from each film shot along its route and includes maps and travel tips. No tour takes more than two hours. A list of the films, with page references, provides an easy guide for those who want to quickly look up their favorite movies.

Costume defines the superhero, disguising and distinguishing him or her from the civilian alter ego. The often garish garb expresses a hero's otherness and empowers its wearers to seek a primal form of justice. This book provides the first interdisciplinary analysis of the superhero costume and investigates wide-ranging issues such as identity, otherness, ritual dress and disguise. Analysis focuses on the implications of wearing superhero costume, exploring interpretations of the costumed hero and the extent to which the costume defines his or her role. Using examples across various media (comic books, film, and television) with case studies including The X-Men, Watchmen, real-life superheroes such as Phoenix Jones and Pussy Riot, and audience activities such as cosplay, The Superhero Costume presents new perspectives on the increasingly popular genre. A lively and thorough account of superhero fashions throughout history, The Superhero Costume will be essential reading for students of visual culture, popular culture, fashion and cultural studies.

The desire to voice the artistic revelation of the truth of a precarious, multi-faceted, yet integrated self lies behind much of Szymanowski's work. This self is projected through the voices of deities who speak languages of love. The unifying figure is Eros, who may be embodied as Dionysus, Christ, Narcissus or Orpheus, and the gospel he proclaims tells of the resurrection and freedom of the desiring subject. This book examines Szymanowski's exploration of the relationship between the authorial voice, mythology and eroticism within the context of the crisis of the modern subject in Western culture. Stephen Downes analyses mythological and erotic aspects of selected songs from the composer's early career, moving to an interpretation of the voice of the homoerotic lover, embodied as a mad muezzin, in terms of heroic notions of Orphic elegy. Discussing the encounters of King Roger with the voices of Narcissus, the Siren and Dionysus, Downes shows how the composer uses the unifying Christ/Eros figure as a means of indicating that the King might be transformed from anguished despot to loving expressive subject. The book ends with an examination of Szymanowski's desire to fuse Slavonic and Middle-Eastern mythological inspirations in an attempt to fulfil a utopian vision of a pan-European culture bound together by the spirit of Eros.