Bad girl Perdita Durango and her dealer boyfriend Romeo Dolorosa get their kicks on a journey from Louisiana to Los Angeles that involves santeria rituals and kidnapping.

When the ravishing Tex-Mex femme fatale Perdita Durango and her small-time drug-dealing boyfriend, Romeo Dolorosa, pull out of Texas with two cute white hostages in the cab and a boatload of heroin in the trunk, no one is safe from Galveston to Los Angeles.

This volume comprises six interlocking novels which chart the wild lives of star-crossed lovers Sailor Ripley and Lula Pace Fortune. The bizarre and varied characters of the stories inhabit a surreal world where paradoxes abound.

A la fin de Sailor et Lula, la mystérieuse et dangereuse Perdita Durango prenait la fuite en laissant son amant, Bobby Perou, mort devant le magasin d'aliments pour animaux qu'il venait de " braquer " en compagnie de Sailor. Nous la retrouvons à la Nouvelle-Orléans, où elle a fait la connaissance de Roméo Dolorosa, un pilleur de banques, originaire de l'île de Caribe et adepte de " Santeria ", une version latino du culte vaudou. Pour faire croire à ses pouvoirs surnaturels, Roméo, avec l'aide de Perdita, kidnappe un couple de jeunes américains à la frontière mexicaine, dans le but d'organiser un sacrifice humain. Parallèlement, Marcello " Zyeux fous " Santos le charge de convoyer un camion de placentas humains destinés à l'industrie cosmétique jusqu'à Los Angeles. La cavale de Roméo et Perdita, unis par le goût de la mort et du mal, fait écho, en beaucoup plus noir, à celle de Sailor et Lula.

Álex de la Iglesia, initially championed by Pedro Almodóvar, and at one time the enfant terrible of Spanish film, still makes film critics nervous. The director of some of the most important films of the Post-Franco era – Acción mutante, El día de la bestia, Muertos de risa – receives here the first full length study of his work. Breaking away from the pious tradition of acclaiming art-house auteurs, The cinema of Álex de la Iglesia tackles a new sort of beast: the popular auteur, who brings the provocation of the avant-garde to popular genres such as horror and comedy. This book brings together Anglo-American film theory, an exploration of the legal and economic history of Spanish audio-visual culture, a comprehensive knowledge of Spanish cultural forms and traditions (esperpento, sainete costumbrista) with a detailed textual analysis of all of Álex de la Iglesia’s seven feature films.

The Imagination of the Heart is the final chapter in the saga of Sailor Ripley and Lula Pace Fortune, the "Romeo and Juliet of the Deep South." Their story began in Barry Gifford's novel Wild at Heart, which in 1990 was made into a Palme d'Or–winning feature film by David Lynch. Following Sailor’s death at the age of sixty-five in New Orleans, Lula moved back to her home state of North Carolina. This novel begins fifteen years later when Lula, at age eighty, decides to write a memoir in diary form, reflecting on her life with Sailor while also keeping a journal describing her last road trip: a journey with Beany Thorn, her best friend since childhood, back to New Orleans. Like a contemporary book of Revelations, dutifully recorded by Lula as a dialogue between self and soul, it becomes a bittersweet, often dangerous journey into the imagination of the heart, and what may lie beyond. Also included in this edition is "The Truth is in the Work," a conversation between Barry Gifford and Noel King which delves into a range of topics, from Gifford’s early publishing experiences to his film projects and to professional sports.