Preston Clearwater has been a criminal since stealing two chain saws and 1600 pairs of aviator sunglasses from the Army during the Second World War. Back on the road in post-war North Carolina, a member of a car-theft ring, he picks up hitch-hiking Henry Dampier, an innocent nineteen-year-old Bible salesman. Clearwater immediately recognizes Henry as just the associate he needs -- one who will believe is working as an F.B.I. spy; one who will drive the cars Clearwater steals as Clearwater follows along in another car at a safe distance. Henry joyfully sees a chance to lead a dual life as Bible salesman and a G-man. During his hilarious and scary adventures we learn of Henry's fundamentalist youth, an upbringing that doesn't prepare him for his new life. As he falls in love and questions his religious training, Henry begins to see he's being used -- that the fun and games are over, that he is on his own in a way he never imagined.

Selected by the Library of Congress as one of the most significant American films ever made, Salesman (1966–9) is a landmark in non-fiction cinema, equivalent in its impact and influence to Truman Capote's 'non-fiction novel' In Cold Blood. The film follows a team of travelling Bible salesmen on the road in Massachusetts, Chicago, and Florida, where the American dream of self-reliant entrepreneurship goes badly wrong for protagonist Paul Brennan. Long acknowledged as a high-water mark of the 'direct cinema' movement, this ruefully comic and quietly devastating film was the first masterpiece of Albert Maysles, David Maysles and Charlotte Zwerin, the trio who would go on to produce The Rolling Stones documentary, Gimme Shelter (1970). Based on the premise that films drawn from ordinary life could compete with Hollywood extravaganzas, Salesman was critical in shaping 'the documentary feature'. A novel cinema-going experience for its time, the film was independently produced, designed for theatrical release and presented without voiceover narration, interviews, or talking heads. Working with innovative handheld equipment, and experimenting with eclectic methods and a collaborative ethos, the Maysles brothers and Zwerin produced a carefully-orchestrated narrative drama fashioned from unexpected episodes. J. M. Tyree suggests that Salesman can be understood as a case study of non-fiction cinema, raising perennial questions about reality and performance. His analysis provides an historical and cultural context for the film, considering its place in world cinema and its critical representations of dearly-held national myths. The style of Salesman still makes other documentaries look static and immobile, while the film's allegiances to everyday subjects and working people indelibly marked the cinema. Tyree's insightful study also includes an exclusive exchange with Albert Maysles about the film.

In Home, eighteen of our finest writers evoke different rooms--from their pasts, their present, or simply their imaginations--in order to investigate the ways in which homes contain our lives. The results are touching, provocative, and sometimes hilarious. And since a portion of the editors' proceeds will go to organizations that help the homeless, Home is really where the heart is. Contributors include: Lynda Barry, Richard Bausch, Tony Earley, James Finn Garner, Henry Louis Gates, Jr., Allan Gurganus, Colin Harrison, Kathryn Harrison, Gish Jen, Karen Karbo, Alex Kotlowitz, Clint McCown, Susan Power, Esmeralda Santiago, Mona Simpson, Jane Smiley, Sallie Tisdale, and Bailey White. "Unforgettable...These pages are filled with the kind of details that etch a childhood place into the deep recesses of memory, that distinguish the sensual life of one family from another."--Los Angeles Times Book Review

From the author of "Independence Day", Richard Ford edits and introduces this anthology for "Granta" which has become the most cited and authoritative collection of short stories on both sides of the Atlantic. Ford in his introduction discusses, among other things, the comment of Frank O'Connor that the short-story is handled so cleverly by Americans that it is our national art form.

The Concise Routledge Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). Previously published in three volumes, entries have been edited and updated for the new, concise edition and three new entries have been added on: India, China and Africa. The Concise Routledge Encyclopedia of the Documentary Film: Discusses individual films and filmmakers including little-known filmmakers from countries such as India, Bosnia, China and others Examines the documentary filmmaking traditions within nations and regions, or within historical periods in places such as Iran, Brazil, Portugal, and Japan Explores themes, issues, and representations in documentary film including human rights, modernism, homosexuality, and World War I, as well as types of documentary film such as newsreels and educational films Elaborates on production companies, organizations, festivals, and institutions such as the American Film Institute, Ceylon Tea Propaganda Board, Hot Docs (Toronto), and the World Union of Documentary Describes styles, techniques, and technical issues such as animation, computer imaging, editing techniques, IMAX, music, and spoken commentary Bringing together all aspects of documentary film, this accessible concise edition provides an invaluable resource for both scholars and students. With film stills from key films, this resource provides the decisive entry point into the history of an art form.