John Howard Reid is one of this country's greatest natural storytellers... Some critics have likened his works to those of Agatha Christie. I find the comparison a little unfair -- to Mr. Reid. If Reid's work needs comparing, I would liken it to Graham Greene's... Merryll Manning On the Rim of Heaven is one book you will find impossible to put down. - American critic, Richard Deutch, in The Sunday Telegraph. Compulsive reading... An engrossing thriller. -- John Hyde in The West Australian. Solidly real... Fast-moving dramatic action. -- Professor Stephen Knight in The Sydney Morning Herald. A well-constructed novel with a thrilling conclusion. -- Judith Green in Between the Covers. Particularly engrossing and easy to read... The author must be congratulated! -- Neil E. Lomas, editor, Warwick Daily News. Highly original... A worthy successor to Reid's earlier novels. The author shows the same lively imagination, yet gives his plot credibility. -- Leonard Ward in The Canberra Times.

Over 60 great film musicals from Hollywood's major studios are given detailed treatment, while hundreds more are briefly noted in this comprehensive guide to the best of America's vintage movie musical classics that are now available on DVD.

The bold and boundlessly original debut novel from the Oscar®-winning screenwriter of Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche, New York. LONGLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE • “A dyspeptic satire that owes much to Kurt Vonnegut and Thomas Pynchon . . . propelled by Kaufman’s deep imagination, considerable writing ability and bull’s-eye wit."—The Washington Post “An astonishing creation . . . riotously funny . . . an exceptionally good [book].”—The New York Times Book Review • “Kaufman is a master of language . . . a sight to behold.”—NPR NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR AND MEN’S HEALTH B. Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, filmmaker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he’s convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius. All that’s left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to re-create the lost masterwork while attempting to keep pace with an ever-fracturing culture of “likes” and arbitrary denunciations that are simultaneously his bête noire and his raison d’être. A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.

When he learns that Lucky is not his real name, but only a nickname given to him by his grandfather, a young boy's outlook on his whole life changes.