Hastily built at the onset of World War II to stop German U-boats from taking their toll on Allied shipping, the 110-foot wooden subchasers were the smallest commissioned warships in the U.S. Navy, yet they saw as much action as ships ten times their size. In every theater of war these “expendable” workhorses of the fleet escorted countless convoys of slow-moving ships through submarine-infested waters, conducted endless mind-numbing antisubmarine patrols, and were used in hundreds of amphibious operations. Some subchasers worked as gunboats to search for and destroy enemy barges. Others rescued downed airmen and retrieved drowning soldiers under heavy enemy fire. During the German occupation of Norway, three American-built subchasers and their Norwegian crews came to be known as “The Shetlands Bus” for their clandestine work as ferries—the only link between Norway and the free world. This book, written by the commander of one of the subchasers, defines their place in naval history and gives readers a taste of life on board the wooden warships. Ringing with authenticity, it describes the cramped quarters and unforgiving seas as well as the tenacious courage and close bonds formed by the men as they sought out the enemy and confronted nature. Long overshadowed by the larger, faster warships and more glamorous PT boats of World War II, subchasers have been mostly forgotten. This work restores the plucky little ships to their hard-earned status as significant members of the fleet.

Tracing the influence of Faulkner’s screenwriting on his literary craft and depictions of women William Faulkner’s time as a Hollywood screenwriter has often been dismissed as little more than an intriguing interlude in the career of one of America’s greatest novelists. Consequently, it has not received the wide-ranging critical examination it deserves. In Faulkner’s Hollywood Novels, Ben Robbins provides an overdue thematic analysis by systematically tracing a dialogue of influence between Faulkner’s literary fiction and screenwriting over a period of two decades. Among numerous insights, Robbins’s work sheds valuable new light on Faulkner’s treatment of female characters, both in his novels and in the films to which he contributed. Drawing on extensive archival research, Robbins finds that Hollywood genre conventions and archetypes significantly influenced and reshaped Faulkner’s craft after his involvement in the studio system. His work in the film industry also produced a deep exploration of the gendered dynamics of collaborative labor, genre formulae, and cultural hierarchies that materialized in both his Hollywood screenplays and his experimental fiction.

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William Faulkner at Twentieth Century-Fox: The Annotated Screenplays presents for the first time and in one volume the five screenplays Faulkner wrote while under contract to Twentieth Century-Fox in the mid 1930s and a sixth he wrote in 1952. An informative introduction describes Faulkner's screenwriting practices, such as adaptation and collaboration, and contextualizes these within a broader genealogy of Hollywood screenwriting and within one of the most important moments in the history of American cinema. Each of the six screenplays appears in full with scholarly annotations, and brief prefatory essays elucidate their evolution over various drafts and with various co-writers. The edition makes available for the first time and in one volume Faulkner's Fox screen writings, and, with its scholarly apparatus, thus makes a valuable contribution to recent scholarship across a number of fields: Faulkner and film; literature and film/adaptation studies; cinematic modernism; and screenplay studies. It also foregrounds Faulkner's many significant collaborators, such as Zanuck and Howard Hawks, and therefore makes an important contribution to the history of Twentieth Century-Fox under Zanuck.