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Blackie and Chloe, two best friends, decide to spend the summer after graduation backpacking through Europe. One is dark and boisterous, the other blond and quiet. Together, they are an irresistible combination to men...married men to be exact. Accepting these cheaters' invitations to their hotel suites, Blackie and Chloe beat them at their own games and make off with cash and whatever valuables are at hand while the men sleep it off. When their latest victim turns up dead, the gig is up...and the Bandit Queens are on the run.
A LITTLE ITALY, A LITTLE FRANCE, A LITTLE CRIME, A LITTLE ROMANCE Meet Blackie and Chloe, two best friends who decide, over tequila shots at the campus bar, to spend the summer after graduation backpacking through Europe. Blackie wants to go a little crazy—drink, smoke, flirt, meet men, have a romance or two. Chloe wants to nurse her broken heart and bury her nose in a book. One is dark and boisterous, the other blond and quiet. Together, they are an irresistible combination to men . . . married men, to be exact. The girls upgrade their accommodations from hostels to hotels when they let the men who’ve been wrecking their trip finance their fun. Accepting these cheaters’ invitations to their hotel suites, Blackie and Chloe beat them at their own game and make off with cash and whatever valuables are at hand while the men sleep it off. It’s the perfect crime (no married man would want to explain why he had two young coeds in his hotel room, now would he?) until they hit the wrong mark in Monte Carlo. When their latest “victim” turns up dead, the gig is up . . . and the Bandit Queens are on the run. Chloe and Blackie’s ride through Europe gets a whole lot wilder with a bevy of wacky characters in hot pursuit of the two women who were last seen with the dead man and his golden statue. Will they be arrested, strain their friendship, or worse? Bandit Queen Boogie is a wild goose chase of mistaken identity and international intrigue. If only every trip to Europe was this much fun.
Leaping fishes. Prowling bobcats. Frosty penguins and mute moose heads...These are the things that fill Garth Carson’s life as he buys, sells, and rents exotic taxidermy from his funky New York City storefront. But now Garth and his gal, Angie, have acquired the most sinister stuffed critter in the world: a certain white crow in a bell jar that Angie swoons over–and that other people are dying to get their hands on. When the crow is stolen, along with $50,000 worth of their best taxidermy, Garth and Angie are plunged into the spooky heart of old New England and a realm of crazed carnies, bumbling feds, and a couple of freshly snuffed collectors. To save their bird–and their lives–these two reluctant sleuths must penetrate a zany, highly illegal international treasure hunt...and confront a freak who has a thing for murder. “The funniest tough-guy writer there is.” –Lee Child “Audacious and always original. Wiprud twangs funny bones I never knew I had.” –T. Jefferson Parker
First study of cinema, media and the Balkan wars; Wide-ranging view of politics and culture of the region; The break-up of Yugoslavia triggered a truly international film-making project. Underground, Ulysses' Gaze, Before the Rain, Pretty Village, Pretty Flame and Welcome to Sarajevo were amongst a host of films created as the conflicts in the region unravelled. These conflicts restored the Balkans as a centrepiece of Western imagery and the media (especially cinema) assumed a leading but ambiguous role in defining it for global consumption through a narrow range of selectively defined images. Simultaneously, a lot of the high-quality cinematic and television work made in the region (much of it discussed in this book) remains relatively unknown. Cinema of Flames attempts to go deeper than the imagery and address some of the general concerns of the cross-cultural representation and self-representation of the Balkans: narrative strategies within the context of Balkan exclusion from the European cultural sphere, the cosmopolitan image of Sarejevo, diaspora, and the representations of villains, victims, women, and ethnic minorities, all considered in the general context of Balkan cinema. 'encyclopaedic in scope and brilliance, making excellent use of the scholarly literature whilst interweaving analysis of films and other mass media. The book will be a superb addition to the literatures on Bosnia and Yugoslavia. It will also serve as a standard reference on Balkans film.' Robert Hayden (University of Pittsburgh)
Global Scriptwriting offers a look at an exciting new phase in screen storytelling, as writers and directors from all over the world infuse traditional forms with their own cultural values to create stories that have an international appeal and suggest a universality among readers, viewers, and listeners. A unique blend of screenwriting technique and film studies, Global Scriptwriting discusses screen stories as they have evolved through the years, focusing first on the basics of scriptwriting, then going on to afford a more sophisticated look at script via different models of scriptwriting: the Hollywood model, the independent model, the national model, and various alternative models. It examines the internationalization of storytelling, and illustrates how particular innovations have helped national screen stories to international success. This book is the first to incorporate the basics of the classical form with the innovative edge of the last decade, as well the culture specific changes that have taken place outside of North America. It offers readers a view of the enriched repertoire available to writers resulting from the introduction of cultural perspectives into traditional story forms. Specific topics examined include, the ascent of voice, the search for new forms, the struggle between style and content, and the centrality of megagenre.
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.
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