Марк Харрис — новинки

The Harwich Submarine Flotilla played a key role establishing British dominance in the North Sea at the beginning of the First World War. Letters, diaries, memoirs and combat reports of the participants are used to give a complete account. Much of this is in print for the first time. The foreword has been written by Rear Admiral Jonathan Westbrook CBE, former Royal Navy Submariner. Written in collaboration with the Friends of the Royal Navy Submarine Museum, profits from royalties are contributing towards the work of the Museum. Both official and personal archive material is used to tell the story, sourced from British, German and French archives. The text is illustrated by charts and plans prepared using the patrol reports, war diaries and logs of the submarines and warships that took part. The war experience of the participants is brought to life, giving a real insight into what it was like to fight in these early submarines, whilst also relating what really happened and the true significance of the events. The Flotilla had to battle not just the enemy, but also the hazards of mines, human frailties, mechanical failure and the weather.

The story of every patrol in the 1914 campaign is told. This campaign saw the first torpedo fired in action by a Royal Navy submarine, the first ship to be sunk and the first submarine to be lost in action. The commanders of the submarines were true pioneers, working out for the first time how to wage war with the latest technology of their age. Their patrols took submarine crews and commanders constantly onto the front line of the naval war to face a multitude of hazards. Many paid the ultimate price, with the Flotilla losing three submarines and almost all of their crews in this first campaign. Success brought the names of figures like Roger Keyes and Max Horton to prominence. The early story of the Flotilla is also the story of a pivotal point in their journey to become key figures of the Royal Navy in the twentieth century. For others, even those who would go on to great fame as submariners, such as Martin Nasmith, it would be a challenging start to their wartime careers.

A magnificent biography of one of the most protean creative forces in American entertainment history, a life of dazzling highs and vertiginous plunges--some of the worst largely unknown until now--by the acclaimed author of Pictures at a Revolution and Five Came Back

Mike Nichols burst onto the scene as a wunderkind: while still in his twenties, he was half of a hit improv duo with Elaine May that was the talk of the country. Next he directed four consecutive hit plays, won back-to-back Tonys, ushered in a new era of Hollywood moviemaking with Who's Afraid of Virginia Woolf?, and followed it with The Graduate, which won him an Oscar and became the third-highest-grossing movie ever. At thirty-five, he lived in a three-story Central Park West penthouse, drove a Rolls-Royce, collected Arabian horses, and counted Jacqueline Kennedy, Elizabeth Taylor, Leonard Bernstein, and Richard Avedon as friends.

Where he arrived is even more astonishing given where he had begun: born Igor Peschkowsky to a Jewish couple in Berlin in 1931, he and his younger brother were sent to America on a ship in 1939. The young immigrant boy caught very few breaks. He was bullied and ostracized--an allergic reaction had rendered him permanently hairless--and his father died when he was just twelve, leaving his mother alone and overwhelmed.

The gulf between these two sets of facts explains a great deal about Nichols's transformation from lonely outsider to the center of more than one cultural universe--the acute powers of observation that first made him famous; the nourishment he drew from his creative partnerships, most enduringly with May; his unquenchable drive; his hunger for security and status; and the depressions and self-medications that brought him to terrible lows. It would take decades for him to come to grips with his demons. In an incomparable portrait that follows Nichols from Berlin to New York to Chicago to Hollywood, Mark Harris explores, with brilliantly vivid detail and insight, the life, work, struggle, and passion of an artist and man in constant motion. Among the 250 people Harris interviewed: Elaine May, Meryl Streep, Stephen Sondheim, Robert Redford, Glenn Close, Tom Hanks, Candice Bergen, Emma Thompson, Annette Bening, Natalie Portman, Julia Roberts, Lorne Michaels, and Gloria Steinem.

Mark Harris gives an intimate and evenhanded accounting of success and failure alike; the portrait is not always flattering, but its ultimate impact is to present the full story of one of the most richly interesting, complicated, and consequential figures the worlds of theater and motion pictures have ever seen. It is a triumph of the biographer's art.

In Pictures at a Revolution, Mark Harris turned the story of the five movies nominated for Best Picture in 1967 into a landmark work of cultural history, a book about the transformation of an art form and the larger social shift it signified. In Five Came Back, he achieves something larger and even more remarkable, giving us the untold story of how Hollywood changed World War II, and how World War II changed Hollywood, through the prism of five film directors caught up in the war: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. It was the best of times and the worst of times for Hollywood before the war. The box office was booming, and the studios’ control of talent and distribution was as airtight as could be hoped. But the industry’s relationship with Washington was decidedly uneasy—hearings and investigations into allegations of corruption and racketeering were multiplying, and hanging in the air was the insinuation that the business was too foreign, too Jewish, too un-American” in its values and causes. Could an industry this powerful in shaping America’s mind-set really be left in the hands of this crew? Following Pearl Harbor, Hollywood had the chance to prove its critics wrong and did so with vigor, turning its talents and its business over to the war effort to an unprecedented extent. No industry professionals played a bigger role in the war than America’s most legendary directors: Ford, Wyler, Huston, Capra, and Stevens. Between them they were on the scene of almost every major moment of America’s war, and in every branch of service—army, navy, and air force; Atlantic and Pacific; from Midway to North Africa; from Normandy to the fall of Paris and the liberation of the Nazi death camps; to the shaping of the message out of Washington, D.C. As it did for so many others, World War II divided the lives of these men into before and after, to an extent that has not been adequately understood. In a larger sense—even less well understood—the war divided the history of Hollywood into before and after as well. Harris reckons with that transformation on a human level—through five unforgettable lives—and on the level of the industry and the country as a whole. Like these five men, Hollywood too, and indeed all of America, came back from the war having grown up more than a little.

An epic account of how the revolution hit Hollywood, told through the stories of the five films nominated for the 1967 Academy Awards The year is 1963. The studios are churning out westerns, war movies, prudish sex comedies and overblown historical epics, but audiences whose interests have been piqued by an influx of innovative films from abroad are hungering for something more, something new. At Esquire, two young writers hatch a plan to create a movie treatment that they hope will attract the director Fran?ois Truffaut: the story of the gangsters Bonnie Parker and Clyde Barrow. Mike Nichols, an improvisatory comedian turned neophyte theater director, gets his hands on an obscure first novel called The Graduate and wonders if he's ready to make the jump to Hollywood. Warren Beatty, just 26 years old and struggling through a series of flops after the success of Splendor in the Grass, decides to take his career into his own hands, but can't seem to settle on his next move. Dustin Hoffman, sleeping on friends' floors and scrounging for temp work in New York, struggles just to get an off-Broadway audition. Sidney Poitier, after two dozen movies, still yearns for something that seems completely unattainable: a good role. And 20th Century Fox, on the brink of financial catastrophe, puts all its hopes in a genre-the family musical-that will revitalize the company and then nearly destroy it again. Pictures at a Revolution tracks five movies-the milestones Bonnie and Clyde and The Graduate, the popular hits Guess Who's Coming To Dinner and In the Heat of the Night, and the big-budget disaster Doctor Dolittle-on their five-year journey to Oscar night in the spring of 1968. It follows their fortunes through the last days of the studio system and the first sparks of a cultural upheaval that would launch maverick new stars and directors, topple more than one industry titan from his pedestal, and redefine what American movies could be. In 1967, moviegoers witnessed the arrival of taboo-shattering sex and violence on screen, the debuts of Dustin Hoffman and Faye Dunaway, the return of Katharine Hepburn and the poignant farewell of Spencer Tracy, the audacious risks taken by Warren Beatty, Arthur Penn, Mike Nichols and Norman Jewison, and Hollywood's agonized attempt to grapple with an incendiary moment in American race relations, with results that would change Sidney Poitier's career forever. By tracing the gambles, the stumbles, the clashes and the creative partnerships that produced these films, Mark Harris captures both the twilight of old Hollywood and the dawn of a new golden age in studio filmmaking. Based on unprecedented access to the actors, directors, screenwriters, producers and executives whose movies defined the era, as well a wealth of previously unexplored archival material, Pictures at a Revolution is an utterly original, revealing, and entertaining history of a true cultural watershed.

Something about a Soldier is considered by some critics to be Mark Harris's finest novel. The wacky characters and situations are clothed in a trenchant language that says everything Harris wants to say while retaining the purity and simplicity of a fable. The hero is Private Jacob Epp (changed from Epstein), seventeen, from Perkinsville, New York. In 1944 he enters the army and arrives for basic training in Georgia with his Soldier's Handbook and a virginal social conscience. Exposed to racial discrimination and poverty, he becomes a social activist, even flirts briefly with communism. He meets Jolene, a countergirl in the PX, who urges him to embrace her, a warmer object for his love than any abstraction. How Private Epp is saved from death for love is a nutty, ingenious story that the reader won't be able to resist.

Ever since 1963, the Doctor has been fighting alien tyrants, vicious monsters and emotionless robots bent on cosmic domination. But it's not only his hair-raising adventures that have made DOCTOR WHO the longest-running science fiction series in world television. It is also its endless array of marvellous machines.
Now, in this totally new concept in DOCTOR WHO literature, that gadgetry is made available to the Doctor's millions of fans.
Totally accurate plans and drawings at last reveal the inner workings of the DALEKS, of K-9, of the Doctor's TOOL KIT, and dozens more.
Best of all there are the fullest possible plans for making your own model TARDIS!
This is the only book that opens the true world of the Time Lords to its readers. No friend of Doctor Who can afford to be without it!