Frank O'Connor (1903-1966) is known primarily for his short stories, and fine ones they are. There are seventeen of them in this Reader, and the best of them, in the words of Richard Ellmann "stir those facial muscles which, we are told, are the same for both laughing and weeping." Except for the masterpiece, "Guests of the Nation," the stories included here have been out of print for twenty years, and one story had been previously unpublished. But this is a Reader and it celebrates the creative diversity of one of this century's finest writers. Here one can also sample O'Connor's skillful translations of Irish poetry, including "The Lament for Art O'Leary." There are a number of self-portraits, including "Meet Frank O'Connor" and "Writing a Story-One Man's Way." The final section includes a number of O'Connor's finest essays, from pieces on Yeats, Joyce, and Mozart, to ones on English and Irish pubs and one simply titled, "Ireland": "No one who does not love the sense of the past should ever come near us; nobody who does, whatever our faults may be, should give us the hard word."

Originally published in 1977. The Travellers, from those living in bow-tents and horse-drawn caravans to those dwelling in motor caravans and permanent homes, are an important source of traditional music. Their society means that songs that have died out in more settled communities are preserved among them. Ewan MacColl and Peggy Seeger, widely known as two of the founding singers of the British and American folk revivals, here display a vast fund of folklore scholarship around the songs of British travelling people. Resulting from extensive collecting in southern and southeastern England and central and northeastern Scotland in the 1960s and 70s, this book contains 130 songs with music and comprehensive notes relating them to folkloristic and historical points of interest. It includes traditional ballads and ballads of broadside origin, bawdy, tragic and humorous songs about love, work and death. Most are in English or in Scots dialect with four in Anglo-Romani.

How to Write a Horror Movie is a close look at an always-popular (but often disrespected) genre. It focuses on the screenplay and acts as a guide to bringing scary ideas to cinematic life using examples from great (and some not-so-great) horror movies. Author Neal Bell examines how the basic tools of the scriptwriter’s trade - including structure, dialogue, humor, mood, characters, and pace – can work together to embody personal fears that will resonate strongly on screen. Screenplay examples include classic works such as 1943’s I Walked With A Zombie and recent terrifying films that have given the genre renewed attention like writer/director Jordan Peele’s critically acclaimed and financially successful Get Out. Since fear is universal, the book considers films from around the world including the ‘found-footage’ [REC] from Spain (2007), the Swedish vampire movie, Let The Right One In (2008) and the Persian-language film Under The Shadow (2016). The book provides insights into the economics of horror-movie making, and the possible future of this versatile genre. It is the ideal text for screenwriting students exploring genre and horror, and aspiring scriptwriters who have an interest in horror screenplays.