As Clear As the Bright Blue Sky

Nicolas Jack Roeg, born on August 15, 1928 in London, England is an internationally-known cinematographer and film director. Contributing to the visual look of Lawrence of Arabia and Roger Corman's The Masque of the Red Death, and co-directing Performance, he would later become the guiding force behind such landmark films as Don't Look Now, Walkabout and The Man Who Fell to Earth, which starred David Bowie.

These and his other pictures are known for their use of the cut-up technique, through which a linear narrative is given a new and less conventional meaning. Often, Roeg will photograph his stories in disjunctive and semi-coherent ways that only make full sense in the film's final moments, when a crucial piece of information surfaces. These techniques, and Roeg's uniquely foreboding sense of atmosphere, have greatly influenced later filmmakers such as Ridley Scott and François Ozon. His later films, however, have received a colder reception by the viewing public.

spare a little prayer for me my baby

How does it happen that a filmmaker once lauded as "the American avant-garde cinema's supreme erotic poet" vanishes entirely from the cultural landscape? Gregory Markopoulos was complicit in his own disappearance from the histories of modern art and cinema, where by any reasonable standard he belongs in the very forefront.

In 1967, after nearly two decades of brilliant, innovative filmmaking, Markopoulos and his lover, Robert Beavers, abandoned the U.S. for Greece. They not only left physically; they also prohibited the distribution of the films in America, refused interviews, and demanded the excision of a chapter on the director in P. Adams Sitney's seminal Visionary Film: The American Avant-Garde from later editions. It was only after his death (from lymphoma in 1992), and in fact only in the last year or so that Beavers, a vigilant guardian of Markopoulos's work, has allowed it to be shown in the U.S.

Seeing these films after 30 years of unavailability gives us a welcome chance to reevaluate this uniquely gifted artist. Born in 1928 in Toledo, Ohio, Markopoulos starting making movies at age 12. His subjects were classical and romantic: novels by Dickens, Bronte, and Hemingway. By the age of 18 he was well versed in cinema aesthetics and those whose work made the greatest case for cinema as art: Josef von Sternberg, Jean Cocteau, Bunuel. If we say he was influenced by these auteurs, it isn't to imply that he was derivative. His 1947-1948 trilogy Du sang, de la volupte, et la mort (Of Blood, of Pleasure, and of Death) already shows formal innovations that set his work apart and would continue to do so — specifically, the flash-cut, where the screen goes dark briefly between shots, creating a kind of trance state in the viewer. Later, he would expand this device to stunning effect with in-camera superimpositions, double-exposures, and the breathtaking "strobe-edit" where images flash on and off sometimes apart from, sometimes within other images. These strategies are part of Markopoulos's elliptical, imagistic approach to the narrative, where the viewer is seduced into participating in what's occurring onscreen in a way that's impossible in linear narrative.

Homosexual and lesbian themes appear in Du sang and other early films. Swain (1950), inspired by Nathaniel Hawthorne's Fanshawe, features a dreamlike narrative of a young man's ritualized rejection of heterosexuality, as a mysterious woman in white gossamer pursues him through a ruined landscape. The handsome Markopoulos appears in several of his own films, and stars in this one. By the early '60s, with works like Twice a Man (1963) and later, The Illiac Passion (1967), his celebration of the male body and an incorporation of homosexual imagery into a wider aesthetic fabric reaches its peak. Both films draw again on classical sources — the former the myth of Hippolytus and Phaedra, the latter Aeschylus's Prometheus Bound. The imagery in The Illiac Passion is striking in its hypnotic repetitions, particularly in a sequence where a man repeatedly attempts to walk, but finds himself unable to move, perhaps trapped in the director's powerful mise-en-scene. The filmmaker isolates portions of the nude male body to fragment the viewer's perception, then flashes images of the whole man in naked splendor. Warhol regular Taylor Mead adds some amusing moments as a kind of demented bird-figure in a pink tattered dress, but most mesmerizing is the recurring motif of the romanticized male in a posture of longing. In one highly charged sequence, a beautiful man lies in a bathtub holding a scarab, which he slowly kisses.



Markopoulos's power as cinematic inventor extends to his soundtracks. In The Illiac Passion, he reads from Thoreau's translation of Prometheus Bound but he "edits" the words just as he does the images, repeating phrases as if they were chants, with the repetitions alternating with silences.

By the time of the short Ming Green (1966), Markopoulos had brought his formal innovations to an extraordinary level of clarity and simplicity. This brief film, a paean by the filmmaker to his New York apartment (the title refers to the color of the walls), dazzles the viewer with its use of the strobe-edit and the superimposition, bringing an empty, quiet space to gorgeous, glittering life.



A year after Ming Green, Markopoulos moved to Europe, where he continued to make films, some of which have yet to be developed. Like the classical sources that inspired his work, Greece held the promise of something he couldn't find in America, a kind of artistic purity without the demands of commerce or the more subtle pressures from a fickle avant-garde. He and Robert Beavers developed the idea of a pure exhibition space — an open-air field in the Greek countryside — in which to show his films. This concept, despite its practical difficulty, is in keeping with the poignant perfection of Markopoulos's artistry, and represents the same uncompromising ideal that drove his work.

Lust In Bills Dust

Michael Latham Powell (September 30, 1905-February 19, 1990) was a British film director, renowned for his partnership with Emeric Pressburger which produced a series of classic British films.

Powell was born in Bekesbourne, Kent, and educated at The King's School, Canterbury and then at Dulwich College. He worked in a bank before becoming an actor and entering the film industry through working with Rex Ingram in France. He developed his skills directing 'quota quickies', sometimes making up to 7 films a year. In 1939 he met Emeric Pressburger whilst they worked together on The Spy in Black. Working together as co-producers, writers and directors in a partnership they dubbed "The Archers", they made nineteen feature films, many of which received critical and commercial success, and their best films are still regarded as classics of 20th century British cinema.

Although admirers would argue that Powell ought to rank alongside Hitchcock and Lean as one of the greatest British film directors, his career suffered a severe reversal after the release of the controversial psychological thriller film Peeping Tom, made in 1960 as a solo effort. The film was excoriated by British critics, who were offended by its sexual and violent images, and Powell was ostracised by the film industry and found it almost impossible to work thereafter. However, his reputation was restored over the years, and by the time of his death he and Pressburger were recognised as one of the foremost film partnerships of all time - and cited as a key infuence by many noted film-makers such as Martin Scorsese and Francis Ford Coppola.

Powell's father, Thomas William Powell, was a hop farmer; his mother was Mabel (Corbett) Powell. He was married to Frankie May Reidy from July 1, 1943 until her death on July 5, 1983. With her he had two sons: Kevin Michael Powell (b. August 24, 1945) and Columba Jerome Reidy Powell (b. 1951). Subsequently, he was married to Thelma Schoonmaker from May 17, 1984 until his death of cancer.

Some More Days There next to Wheeling

Kate Elizabeth Winslet (born 5 October 1975) is a BAFTA Award-winning English actress. She is noted for having played a wide range of diverse characters over her career, but is probably best-known for her role as Rose DeWitt Bukater in the highest-grossing film of all time, Titanic (1997).

Although Winslet has not won an Academy Award, she has been favoured by the Academy: she was the youngest person to receive two Oscar nominations, and also had the most Oscar nominations of any actor before the age of 30 (having received a total of four nominations by that age). In addition, there have been only two occasions where two actors playing the same character in the same film have both been nominated for an Oscar; Winslet was a nominee in both instances (for Titanic and Iris).
Contents
[hide]

* 1 Biography
o 1.1 Early life
o 1.2 Career
o 1.3 Personal life
o 1.4 Awards and Nominations
+ 1.4.1 Academy Awards (Oscars)
+ 1.4.2 Golden Globes
+ 1.4.3 BAFTAs
+ 1.4.4 Grammys
+ 1.4.5 Emmys
o 1.5 Music
* 2 Selected filmography
* 3 Notes
* 4 References
* 5 External links
o 5.1 Interviews
o 5.2 Web sites

[edit] Biography

[edit] Early life

Winslet was born in Reading, Berkshire, England to Roger Winslet and Sally Bridges, both of whom were actors. Her maternal grandparents, Oliver and Linda Bridges, founded and operated the Reading Repertory, and her uncle, Robert Bridges, appeared in the original West End production of Oliver! Her sisters are Beth Winslet and Anna Winslet, also actresses.

Winslet, raised an Anglican, began studying drama at the age of eleven at the Redroofs Theatre School,[1], a co-educational independent school in Maidenhead, Berkshire, and was soon cast as a spokesperson for a cereal in television commercials.

[edit] Career

Winslet's career began on television, with a co-starring role in the BBC children's science fiction serial Dark Season in 1991, followed by appearances in the made-for-tv movie Anglo-Saxon Attitudes in 1992 and an episode of the medical drama Casualty in 1993, also for the BBC.
Winslet alongside Melanie Lynskey in Heavenly Creatures, this was her first film role.
Winslet alongside Melanie Lynskey in Heavenly Creatures, this was her first film role.

Winslet's film career took off with laudatory praise and recognition in 1994 when she starred in a joint leading role, as Juliet Hulme in director Peter Jackson's critically acclaimed Heavenly Creatures, playing a vivacious and imaginative teen who helps her best friend murder her mother when they are not allowed to be together.

This role was followed by the successful film Sense and Sensibility (co-starring Emma Thompson), which made her well-known, especially in the UK. Winslet became famous world-wide after the 1997 release of Titanic, a massive hit which holds the record as highest-grossing film in history (not accounting for inflation) at more than 1 billion dollars in box-office worldwide. It went on to win 11 Academy Awards.

Winslet has been regarded as something of a critics' darling, generally receiving positive reviews for every one of her films. Despite Titanic's success, she has continued making lower-budget, independent films, including Hideous Kinky and Holy Smoke; her roles in these smaller, more artistic films appear to be one of choice - she turned down the lead in Shakespeare in Love to make Hideous Kinky. She has also taken several roles in studio "period drama"s like Quills, Iris and Finding Neverland. (For a time, she was given the nickname "Corset Kate").

In 2005, Winslet appeared in a television commercial for the American Express credit card. As part of the "My Life, My Card" campaign, the ad shows Winslet strolling around Camden Lock, in London, as she makes references to all the events that have happened to her film characters - such as going to prison for murder (Heavenly Creatures), being penniless and heartbroken (Sense and Sensibility), almost drowning (Titanic), having her memory erased (Eternal Sunshine of the Spotless Mind) and being in Neverland (Finding Neverland). During the ad, she is shown holding items relating to her films; during the reference to Sense and Sensibility she thumbs through a copy of the book, and when she references Finding Neverland, she's holding a hook.

Winslet also appeared in an episode of BBC's comedy series Extras in August of 2005, as 'herself'. She memorably told Andy and Maggie, the two characters who star in the series, that she was doing a film about the Holocaust because she was tired of losing out on Oscars, as she's been nominated four times, and that everyone who does a film about the Holocaust wins an Oscar. Ricky Gervais later said on NPR that she was his favorite guest star.[2]

In February 2006, Winslet announced that she would collaborate with her husband, director Sam Mendes, on a film version of the Richard Yates novel, Revolutionary Road.[3] She also has interest in returning to the stage[citation needed].

[edit] Personal life

On November 22, 1998, Winslet married director Jim Threapleton. The two have a daughter, Mia Honey, who was born on October 12, 2000. After a divorce in 2001, Winslet began a relationship with director Sam Mendes, whom she married on May 24, 2003, on the island of Anguilla in the Caribbean. Their son, Joe Alfie, was born on December 22, 2003.

The media, particularly in England, have enthusiastically documented her weight fluctuations over the years. Winslet has been outspoken about her refusal to lose weight in order to conform to the Hollywood ideal. In February 2003, the British edition of GQ magazine published photographs of Winslet which had been digitally enhanced to make her look dramatically thinner than she really was; Winslet issued a statement saying that the alterations were made without her consent.

[edit] Awards and Nominations

Winslet has earned four Oscar nominations and four Golden Globe nominations, as well as one BAFTA Award and three further BAFTA nominations. Premiere Magazine named her performance as Clementine Kruczynski in Eternal Sunshine of the Spotless Mind the 81st greatest film performance of all time.

She has also received numerous awards and nominations from other organizations, including the Screen Actors Guild and the Evening Standard British Film Awards.

Winslet won the Los Angeles Film Critics' Association (LAFCA) award for Best Supporting Actress for Iris. For Holy Smoke!, she was Best Actress runner-up at both the New York Film Critics' Circle (NYFCC) and the National Society of Film Critics (NSFC). Winslet was also NYFCC's Best Actress runner-up for Eternal Sunshine of the Spotless Mind.

[edit] Academy Awards (Oscars)
Winslet in Titanic
Winslet in Titanic

On January 25, 2005, Winslet was nominated for an Oscar for Eternal Sunshine of the Spotless Mind where she eventually lost to Hilary Swank. She surpassed Marlon Brando's record for the youngest actor to have received four Oscar nominations. Her Titanic nomination secured her the record for the youngest ever double-Oscar-nominee.

She also received two nominations for playing younger versions of another nominee in the same film, the only two instances different actors playing the same role in the same film had been nominated. She played the younger versions of nominee Gloria Stuart in Titanic, and nominee Judi Dench in Iris. Her Academy Award nominations to date are as follows:

* 1995 - Nominated - Best Actress in a Supporting Role - Sense and Sensibility
* 1997 - Nominated - Best Actress in a Leading Role - Titanic
* 2001 - Nominated - Best Actress in a Supporting Role - Iris
* 2004 - Nominated - Best Actress in a Leading Role - Eternal Sunshine of the Spotless Mind

[edit] Golden Globes

Winslet has received Golden Globe nominations for Sense and Sensibilty (Best Supporting Actress), Titanic (Best Actress, Drama), Iris (Best Supporting Actress), Eternal Sunshine of the Spotless Mind (Best Actress, Musical or Comedy), and Little Children (Best Actress, Drama).

[edit] BAFTAs

Winslet won a BAFTA Award as Best Supporting Actress for her role in Sense and Sensibility. She also received a nomination as Best Supporting Actress for Iris, and a double nomination for Best Actress in 2005, for Eternal Sunshine of the Spotless Mind and Finding Neverland. She lost to Jennifer Connelly and Imelda Staunton, respectively.

[edit] Grammys

In 2000 she won a Grammy Award for the 'Best Spoken Word Album for Children' for Listen To the Storyteller.

[edit] Emmys

On July 6, 2006, Winslet was nominated for an Emmy Award for her guest appearance, playing herself, on an episode of "Extras" that premiered in 2004. In this episode she comically criticizes the fact that she was nominated for an Oscar four times, but has never won one.

[edit] Music

Winslet has also enjoyed a brief taste of success as a singer, with her single "What If?" (2001 song) from the soundtrack of Christmas Carol: The Movie, which reached #1 in Ireland and #6 in the UK. More recently, she participated in a duet with "Weird Al" Yankovic on the Sandra Boynton CD, Dog Train, and sang in the 2006 film, Romance and Cigarettes. She also sang an aria from La Boheme, called "Sono Andanti", in her film Heavenly Creatures, which is featured on the film's soundtrack.

we don't need no music

Venus in Furs (first published in 1870 under the title Venus im Pelz in German) is possibly the best known of its author Leopold von Sacher-Masoch's works. The novel was part of an epic series which Sacher-Masoch envisioned which he called “The Heritage of Cain,” which was to have six parts, which was to contain 6 stories each on the subjects of: Love, Property, The State, War, Work, and Death. “Venus in Furs” was part of Love, which contained five additional stories.

The novel draws themes and character inspiration heavily from Sacher-Masoch’s own life. Wanda von Dunajew (the woman in which the novel centralizes around) was named after Fanny Pistor, who was an emerging literary writer. The two met when Pistor contacted Sacher-Masoch, under the fictitious title of a noble Baroness Bogdanoff for suggestions on improvement of her works, to make them suitable for publication. Inventing such a title for herself is telling of the fanciful aspect of her character that would make possible the charming and outrageous nature of their love affair.

On December 8, 1869 Leopold and Fanny signed a contract making Leopold von Sacher-Masoch the slave of Fanny Pistor Bogdanoff for the period of six months, with the stipulation, doubtlessly at Sacher-Masoch’s suggestion, that the Baroness wear furs as often as possible, especially when she was in a cruel mood. Sacher-Masoch was given the alias of “Gregor,” and fitted out in disguise as the servant of the Baroness. The two traveled by train to Italy. As in the novel, he traveled in the third class compartment, while she had a seat in first class, arriving in Venice (Florence, in the novel), where they were not known, and would not arouse suspicion.[1]

Sacher-Masoch's fantasies and fetishes were attempted with all his mistresses and wives. After his love affair with Fanny Pistor, Sacher-Masoch married his first wife, Aurora Rümelin, and pressured her into living out the experience of his book "Venus in Furs", against her preferences. This marriage was an utter failure and he soon got a divorce and married his assistant. In his late 50s, his mental health began to deteriorate and he spent the last years of his life in a pyschiatric asylum. According to official reports, he died in Lindheim, Germany in 1895; however some claim that he actually died in an asylum in Mannheim in 1905.

A New Book Released!

The Abacus (Paperback)
by Che Elias
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Book Description
Che Elias 4th Novel and finest work to date, tells the tale of his own Upbringing and downfall in contemporary West Virginia, Written in a straight forward Though far from mainstream Style which is a great departure from his early work yet still cutting edge, a moving portrayal of retribution in the tradition of Breece D'j Pancake And William Faulkner.
Product Details

* Paperback: 658 pages
* Publisher: Six Gallery Press (November 28, 2006)
* Language: English
* ISBN-10: 0977624226
* ISBN-13: 978-0977624225
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What Really Bills Me IS I'm only goal b

Breece D'J Pancake (June 29, 1952-April 8, 1979) was an author of short fiction whose promising career was cut short by an apparent suicide. His works were originally published in The Atlantic and have since been collected in The Stories of Breece D'J Pancake. His literary style, uncomplicated and compact yet vivid and powerful, has been compared to Ernest Hemingway's. Most of his stories are set in rural West Virginia and revolve around characters and naturalistic settings adapted from his own past.

Pancake was born in South Charleston, West Virginia in 1952 and reared in Milton. Pancake briefly attended West Virginia Wesleyan College in Buckhannon before transferring to Marshall University in Huntington, where he completed a bachelor's degree in English education. As a graduate student he studied at the University of Virginia's creative writing program. He also worked as an English teacher at two Virginia military academies.

While at the University of Virginia, Pancake deliberately styled himself as an uncultured hillbilly, distancing himself from the mostly erudite students at the prestigious school. He was an avid outdoorsman who enjoyed hunting, fishing and camping. He also deeply appreciated the music of folk singer Phil Ochs. Pancake died from a shotgun wound in Charlottesville, Virginia, and was buried in Milton.

Among the writers who claim Pancake as a strong influence are Chuck Palahniuk, author of Fight Club, and Andre Dubus III, author of House of Sand and Fog. After Pancake's death, author Kurt Vonnegut wrote, "I give you my word of honor that he is merely the best writer, the most sincere writer I’ve ever read. What I suspect is that it hurt too much, was no fun at all to be that good."

[edit] Trivia

* The unusual middle name "D'J" originated from a misprint of Pancake's middle initials (D.J., for Dexter John). Pancake decided not to correct it.

[edit] Bibliography

Casey, John (1983). Afterword to The Stories of Breece D'J Pancake. Boston: The Atlantic Monthly Press Book.

Cochrane, Ashley (March 2, 1995) Breece D'J Pancake tells of personal strife at the University. The Cavalier Daily.

Douglass, Thomas E. A (1998) Room Forever: The Life, Work, and Letters of Breece D'J Pancake. Knoxville: University of Tennesse Press.

Douglass, Thomas E. A (Summer, 1990). The Story of Breece D'J Pancake. Appalachian Journal. 17:4, pp. 376-390.

Finnegan, Brian (Spring, 1997). Road stories that stay home: Car and driver in Appalachia and "The Stories of Breece D'J Pancake." The Southern Literary Journal. 29:2, pp.87+.

Hugh, Ellesa Clay (1985). A Lost Generation: The Appalachia of Breece D'J Pancake. Appalachian Journal. 13:1, pp.34-40.

Kadohata, Cynthia (1996). Breece D'J Pancake. Mississippi Review.

Snyder, Bob (1988). Pancake and Benedict. Appalachian Journal. 15:3, pp. 276-283.

Stevens, David (1996). Writing region across the border: Two stories of Breece Pancake and Alistair MacLeod. Studies in Short Fiction. 33:2, 263+.

Dis Old LucienMant

William Gaddis (December 29, 1922 – December 16, 1998) was an American novelist. He wrote five novels, two of which won the National Book Award.
Contents
[hide]

* 1 Biography
* 2 Works
* 3 The Gaddis Annotations
* 4 See also
* 5 References
* 6 External links

[edit] Biography

Gaddis was born in Manhattan to William Thomas Gaddis, who worked "on Wall Street and in politics," and Edith Gaddis, an executive for the New York Steam Corporation. When he was 3, his parents separated and Gaddis was subsequently raised by his mother in Massapequa, Long Island. At age 5 he was sent to Merricourt Boarding School in Berlin, Connecticut. He continued in private school until the eighth grade, after which he returned to Long Island to receive his diploma at Farmingdale High School in 1941. He entered Harvard in 1941 and famously wrote for the Harvard Lampoon (where he eventually served as President), but was asked to leave in 1944, after a drunken brawl. He worked as a fact checker for The New Yorker for two years, then spent five years traveling in Central America, the Caribbean, North Africa, and Paris, returning to the United States in 1951.

His first novel, The Recognitions, appeared in 1955. A lengthy, complex, and allusive work, it had to wait to find its audience. Newspaper reviewers considered it overly intellectual, overwritten, and perhaps on the principle of omne ignotum per obscaenum ("all that is unknown appears obscene"), filthy. (The book was defended by Jack Green in a series of broadsheets blasting the critics, which was collected later under the title Fire the Bastards!) Shortly after its publication, Gaddis married his first wife, Patricia Black, who would give birth to his only children: Sarah and Matthew.

Gaddis then turned to public relations work and the making of documentary films to support himself and his family. In this role he worked for Pfizer International, Eastman Kodak, IBM, and the United States Army, among others. He also received a National Institute of Arts and Letters grant, a Rockefeller grant and two National Endowment for the Arts grants, all of which helped him write his second novel. In 1975 he published J R, an even more difficult work than The Recognitions, told almost entirely in dialogue, with no direct indication of who is speaking at any given time. Its eponymous protagonist, an 11-year-old, learns enough about the stock market from a class field trip to build a financial empire of his own. Critical opinion had caught up with him, and the book won the National Book Award. A few years later the hugely successfully television show Dallas featured a tycoon named "JR," albeit somewhat older, and the real-life market of the '80s and since has borne an alarming resemblance to some of the machinations described here. His marriage to his second wife, Judith Thompson, dissolved shortly after the book was published. By the late 1970s, Gaddis had entered into a relationship with Muriel Oxenberg Murphy, and they lived together until the mid-1990s.

Carpenter's Gothic (1985) offered a shorter and more accessible picture of Gaddis's sardonic worldview. Instead of struggling against misanthropy (as in The Recognitions) or reluctantly giving ground to it (as in JR), Carpenter's Gothic wallows in it. The continual litigation that was a theme in that book becomes the central theme and plot device in A Frolic of His Own (1994)--which earned him his second National Book Award and was a finalist for the National Book Critics Circle Award for Fiction--where it seems that everyone is suing someone. There is even a Japanese car called the Sosumi. (Gaddis has never been afraid of the pun. There is a character in The Recognitions named Recktall Brown.)

Gaddis died of prostate cancer on December 16, 1998, but not before creating his final work, Agapē Agape (the first word of the title is the Greek agapē, meaning divine, unconditional love), which was published in 2002, a novella in the form of the last words of a character similar but not identical to his creator. The Rush for Second Place, published at the same time, collected most of Gaddis's previously published nonfiction.

After years of critical neglect, Gaddis is now often acknowledged as being one of the greatest of American post-war novelists. His influence is vast (although frequently subterranean): for example, postmodern authors such as Don DeLillo and Thomas Pynchon seem to have been influenced by Gaddis, it has been noted that Gaddis' dialectical narrative style is echoed in the works of Christopher Wunderlee and Jonathan Safran Foer, while authors such as Joseph McElroy, William Gass, David Markson, David Foster Wallace and Jonathan Franzen have all stated their admiration for Gaddis in general and The Recognitions in particular. He has received the following awards and honorary positions: the MacArthur Foundation’s "genius award" (1982); elected to the American Academy and Institute of Arts and Letters (1989); the Lannan Literary Award for Lifetime Achievement (1993). His papers are collected at Washington University in St. Louis.

[edit] Works

* The Recognitions (1955)
* J R (1975)
* Carpenter's Gothic (1985)
* A Frolic of His Own (1994)
* Agapē Agape (2002)
* The Rush for Second Place (2002)

[edit] The Gaddis Annotations

With the advice of noted Gaddis scholar, Steven Moore, The Gaddis Annotations is a comprehensive online Gaddis resource edited by Victoria Harding. With extensive annotations for each of Gaddis's novels, a complete bibliography of primary and secondary sources, and the entire text of Moore's monograph on Gaddis, The Gaddis Annotations is considered to be one of the finest examples of scholarship utilizing new media resources, even receiving coverage in academic journals.[1]