This book is one of the best scary stories books I've ever read.The 2 best stories I think are good are "The Deadly Dare" and "Terror Trip". The deadly dare is about 3 sophomores who go on a camping trip and 2 of them go out for firewood and they are found the next day...dead.You'll also find out how and why they are dead. Terror trip is about a family who goes on a trip and they hear pounding and they stop at a family's house to wait out a storm and on there way back from the trip they stop and see the family but too late,they learn the horrible secret...and it has to do with the pounding

This has very scary stories that will make your eyes widen, and be afraid of everything. Every story will give you the chills. I have read all of them and I highly recamend all of the books, especially this one!

THIS BOOK IS THE KID OF BOOK THAT YOU WOULD LIKE TO READ OVER AND OVER AND OVER AGAIN, THE STORIES MAKE YOU THINK OF WHAT IS GOING ON. WHEN I READ THE BOOK I COULD NOT SLEEP FOR 2 DAS. THAT IS HOW INTENSE IT WAS. LIKE I SAID YOU MUST READ THIS BOOK IF YOU DARE.

Most people think of themselves as opposed to censorship and on the side of freedom. While the contributors to this stellar, striningly innovative colection no doubt view cesnorship negatively, their essays show in very persuasive and detailed ways that censorship takes many forms other than brute repression, and, more oever, that those forms cannot always be clearly differentiated from the practices of criticism, editing, museuum exhibition, and so on. A very compelling and provocative book.

This is a path-breaking collection of essays on censorship. Contributors focus on examples ranging from the early modern (Milton's Areopagitica) top the modern (Joyce's Ulysses) to the postmodern. The collection as a whole shows how complicated censorship turns out to be. Burt's own essay on the LA County Musuem of Art's recontruction of the 1937 Nazi Degenerate Art exhibition is a masterpeice. A must for anyone intersted in censorship of litterature, the arts, musuems, academia and music.

This is a wonderful, concise text that covers a great deal of clinically useful information. I have almost every book published on stem cell transplantation and this is one of the best for its size and price. I recommend it for anyone in the transplant field. Whether you're new to the field or experienced, you'll find this to be a valuable reference.

The raison d'etre given for this new publication by its authors and publishers is to provide a concise monograph for doctors in training, information, for medical students, paramedical professionals, house-staff and practicing physicians-to say nothing about the nurses and technologists who make up the standard multi-disciplinary transplant group.

The contents of this book are current, authoritative, critically referenced and cover all the recognized aspects of these procedures, with many valuable comments that include a brief history of the topic, design of the transplantation unit, assessment of donors and eventually moving on to provide data that include results in each of the disease categories.

It is seldom that one can recommend, without reservation, widespread use and it is confidently predicted that the audience for whom the monograph is written will find this a valuable resource.

bURT AND ARCHER HAVE ASSEMBLED A DISTINGUISHED GROUP OF CONTRIBUTORS ON THE WAY SEXUALITY AND PROPERTY CAME TO BE LINKED IN THE LITERARY PRCTICES OF EARLY MODERN ENGLAND. A HIGHLY INFOMRATIVE COLLECTION OF SURPERBLY WRITTEN ESSAYS.

I found this to be an excellent bib of U.S. History. Has sections on different periods of U.S. history as well as regional and state sections. It also has a thorough biography secion. Best I've seen so far. I just wish they'd update it.

There are lots of academic studies of Shakespeare in popular culture coming out at the moment, but many are written by people who wouldn't know popular culture if it banged on their door trying to sell them cookies. The contributors to this volume are intelligent deep cultured people but listen this does not HAVE to mean you don't know how the mass market thinks, and this team does. Laurie Osborne is divine on Shakespeare in Harlequin romances and Burt is at his leg-biting best on the strange eery tameness of Taymor's *Titus* movie. This book really advances the argument about what and how Shakespeare means in America today -- buy it.

Hot! Hot! Hot! This brilliant book is essential reading for anyone who wishes to understand the current(Spring-Summer 99) spate of both teen Shakespeare movies and the "tourist class" response to them in art house theaters. Presenting a comprehensive but open-ended scholarship of the popular, Burt canvasses a range of films and television shows that allude to Shakespeare from mid-century forward, concentrating on the 70s through the late 90s. He also displays a sure hand as a reader of the plays he discusses and recent cultural criticism about Shakespeare. The book accounts for a recent phenomenon: the way in which the plays' processing by mass media totally empties them of whatever cultural values or political effectiveness current criticism of the right and left have claimed for them. Marking a major paradigm shift in masscult studies from the critic as "fan" to the critic as "loser," Burt challenges the distinction between progressive and reactionary takes on both Shakespeare and the culture industry. As losers, Shakespeare critics are closer to what's happening than they realize--and than they really want to be, despite their medium cool academic fantasies. Along the way, Burt provides strong interpretations of Dead Poet's Society, sound in porn movies, Polanski's Macbeth, Quiz Show, key TV adaptations, and much much more. Maddening, persuasive and a blast to read, this book will tax whatever preconceptions you have about Shakespeare, the mainstream and pornographic film industries, and popular media in general.

Combining glittery high theory with `low' culture materials, Richard Burt has written an absolutely brilliant, path-breaking study of Shakespeare in contemporary mass media, focusing mostly on film, but discussing t.v. sit-coms, comic books, and novels as well. Most of these films and other texts have never before been archived or examined by any other Shakespeare critic. What is particularly original about Burt's book is the way he views what he concedes are often trashy films, including some hardcore pornographic adaptations, from the vantage point of the critic as loser. Instead of trying to redeem mass culture `trash' as politically dissident, transgressive, or subversive material, as most critics doing cultural studies now do, Burt questions whether the trashy material he examines can be recycled, and opens up as a profound, troubling question whether criticism (avowedly political or not, high-minded or low-minded) can ever fully transcend questions concerning its own potential triviality and stupidity. This is a very sophisticated and challenging book, but is very accessible and very entertaining. Burt will soon emerge as the Stephan Greenblatt of post-millenial Shakespeare criticism. His book is a truly remarkable read!

Richard Burt has managed to write an academic text which is at once thorough and a pleasure to read. Dr. Burt's style is easily accessible while still offering an intellectual's view of all things Shakespearean. This book's vision of modern Shakesperiotics demonstrates just how far reaching "the Bard" can be. The depth of Burt's considerations of Queer Theory and adult films is impressive and well documented, but his real strength is the breadth of his scholarship, as he lists and discusses allusions, citations, and spinoffs found throughout American culture. This volume should not be missed by casual viewers of popular culture or interested academic followers of Shakespeare.

Well, the title got me to buy the book, shame on me for falling for it. It's a good read, but the subject matter is serial killers, not vampires; not even so-called "historical vampires", and sometimes the serial killers don't even have a vampiric element to their crimes at all! The author attempts to imply that there's some sort of "dracula syndrome" but there's very little case for this. He doesn't even bother trying, I thought. I gave it 4 stars because even though it has little to do with the matter the title implies, it's still pretty interesting.

the author has written this book in a manner that while reading, it takes control of you, it casts a spell, its spine-chilling. wonderful!

A close look at it's title will reveal the kind of cultural synthesis "Shakespeare: the Movie" aims at: it is a book of essays about movie and TV adaptations of plays written by Shakespeare. I myself was much impressed, and before I even opened the book I mused for a moment on the implications of these layers of translation.After all, there is a constant cross-fertilization between movies and plays: Dustin Hoffman in "Death of a Salesman," or "The Lion King, Broadway Musical." (Although, as one essay claims in passing, "The Lion King does have a distinct flavor of Hamlet.) And Shakespeare drew many of his plots from old folk tales - so you can toss oral tradition into the pot. What would it mean to write a review of one of these hybrids? How much importance must you place on faithfulness to the original, and how much on a successful adaptation to the new form? The set of questions suggested by those three words might be the most concise moment in the book. Because unfortunately, when I turned the page, I was faced with the most sour stew of turgid prose that academia can produce. Favorite words include "narration," "discourse", "cultural," "explicitly," and "contextualization," for these words can usually be added to a phrase no matter it's subject, so the sentence can march down the margin until it's a third of a page long, while saying very little. Mobile phones and intercoms, writes Richard Burt, "formulate the mediating power of Los Angeles as the contemporary site where high/low distinctions are engaged in endlessly resignifying themselves." The word "gender" is frequently verbed. :) The Bard would wince. A couple of essays, like "Shakespeare Wallah," offered a genuinely new take (and fresh language), but on the whole the book was all over the place and lacked coherence. I was disappointed.

THIS IS A LANDMARK COLLECTION OF BRILLIANTLY WRITTEN ESSAYS ON A VARIETY OF FILMED ADAPTATIONS OF SHAKESPEARE'S PLAYS, INCLUDING THE RECENT HENRY V AND RICHARD III. IT IS ALREADY A LANDMARK IN THE FIELD AND HAS BECOME THE MOST WIDELY CITED BOOK ON SHAKESPEARE AND FILM. I HAVE ASSIGNED FOR SEVERAL COLLEGE COURSES. STUDENTS HAVE FOUND IT AN INVALUABLE RESOURCE. HIGHLY RECOMMENDED. READERS OF THIS BOOK WILL ALSO WANT TO HAVE A LOOK AT BURT'S EXCELLENT BOOK, UNSPEAKABLE SHAXXXSPEARES.

This is a fantastic coleciton ranging across a wide variety of Shakespeare films. If you are dumb enough to think that "gender" is not a verb (as in "to gender") and a noun as well as think that "verb" is a verb and a noun (as in "to verb"), this book will probably disappoint you. But if you have a good sense of the grammar of the English language, you'll love this book.

This book is written in installments: first-person narratives by people who know the main character. Most of them are only a few pages long, and few of the narrators repeat. Thus, it's impossible to really sympathize with any of them. The main character himself, gunslinger John Wesley Hardin, is hard to like: we never get into his head, and from the outside he looks like just another gangster. The reader sympathizes briefly when he's wounded and imprisoned, only to be put off when he commits his next act of mindless violence or drunken stupidity. The post-Civil War American West, as presented by the author, whacks the reader over the head with violence, lawlessness, and what I felt were rather gratuitous scenes of sex with prostitutes. I'm all for "gritty" historical fiction, but here it sometimes seemed like the author was just trying to show off. Without emotional content, grit is just an irritant. Having said all that, the book is intelligently written and apparently well researched, and it might be somebody else's cup of tea more than it is mine.

There was nothing like the American West in the history of the world and figures like Hardin exemplify it; deadly, brave, sad and foolish all at once. His death seemed a relief because by 1895 there was no place left for the bravado of a gunslinger who would draw over an insult.

I found the writing format, the telling through other's eyes, less engaging and certainly less tasty than Blake's current style.

This was some book ! Absolutely outstanding in every respect - as a story, in its style, very exciting, excellent dialect, really funny in spots, ..... Chapter by chapter I went from hating the arrogant ... (John Wesley Hardin), to wanting to be a Hardin. If he really was as portrayed in this book (which I doubt), he was mostly the kind of person I respect - leave him alone and he'll buy you drinks all night long and otherwise give you the shirt off his back. Meddle in his business, get in his face, or harm his family and he'll whip you or kill you. Now don't get me wrong. Any reader would try to see where they fit in, in that day and time and I am pretty much left with the sad conclusion that I would have probably been a sorry, boot-licking peddler of some kind . . . . not a Hardin.