Mockingbird (Tevis novel)
Mockingbird is a science fiction novel by American writer Walter Tevis, first published in 1980. It was nominated for a Nebula Award for Best Novel. A central character is the dean of New York University, Spofforth, an android who has lived for centuries yet yearns to die; the novel opens with his failed attempt at suicide. Spofforth brings Paul Bentley, to New York. Bentley has taught himself to read after a Rosetta Stone–like discovery of a film with words matching those in a children's primer. Spofforth disliked his reading knowledge. Bentley says he could teach others to read, but Spofforth instead gives him a job of decoding the written titles in ancient silent films. At a zoo, Bentley meets Mary Lou, explains the concept of reading to her, the two embark on a path toward literacy. Spofforth responds by sending Bentley to prison for the crime of reading, takes Mary Lou as an unwilling housemate; the novel follows Bentley's journey of discovery after his escape from prison, culminating in his eventual reunion with Mary Lou and their assistance with Spofforth's suicide.
Anne McCaffrey commented, "I've read other novels extrapolating the dangers of computerization, but Mockingbird stings me, the writer, the hardest. The notion, the possibility, that people might indeed lose the ability, worse, the desire to read, is made acutely probable."When a new edition was published in 1999, with an introduction by Jonathan Lethem, Pat Holt stated that, "The book feels like a combination 1984 and Brave New World, with a dash of the movie Escape from New York thrown in."Reviewing the 1999 edition, James Sallis declared that "Mockingbird collapses the whole of mankind's perverse, self-destructive, indomitable history and kindness alike, into its black-humor narrative of a robot's death wish." During one of his last televised interviews, Tevis revealed that PBS once planned a production of Mockingbird as a follow-up to its successful adaptation of The Lathe of Heaven. The San Francisco Chronicle called Mockingbird "an unofficial sequel to Fahrenheit 451, for its central event and symbol is the rediscovery of reading."
Don Swaim interviews Walter Tevis
The Color of Money
The Color of Money is a 1986 American drama film directed by Martin Scorsese from a screenplay by Richard Price, based on the 1984 novel of the same name by Walter Tevis. The film stars Paul Newman and Tom Cruise, with Mary Elizabeth Mastrantonio, Helen Shaver, John Turturro in supporting roles, it features an original score by Robbie Robertson. Newman won the Academy Award for Best Actor for his performance, his first Oscar win after eight nominations, seven of them for Best Actor; the film continues the story of pool hustler and stakehorse Edward "Fast Eddie" Felson from Tevis' first novel, The Hustler, with Newman reprising his role from the 1961 film adaptation. It begins more than 25 years after the events of the previous film, with Eddie retired from the pool circuit. Although Tevis did author a screenplay, adapting the storyline from his novel, the filmmakers decided not to use it, instead crafting an different story under Tevis' title; the Color of Money was released by Touchstone Pictures.
Eddie Felson is a former pool hustler turned successful liquor salesman. One night he meets Vincent Lauria, a young, charismatic pool player and video gamer who plays small-time nine-ball games while working as a sales clerk at a toy store in a Chicago suburb. Eddie, who still stakes bets for players, persuades Vincent and girlfriend/manager Carmen to go on the road, where he can teach Vincent how to make much more money through hustling pool. With Eddie staking their bets, Vincent visits a series of billiard halls where Eddie tries to teach him that "pool excellence is not about excellent pool." Although Carmen is a quick study, Vincent chafes at Eddie's scams, which require him to play well below his abilities. Fast Eddie picks up a cue himself, does well in several games, but is taken in by a pool shark named Amos. Humiliated, Eddie leaves Vincent and Carmen with enough money to make it to the championships in Atlantic City. Wearing new prescription eyeglasses, Eddie begins practicing, he enters the 9-ball tournament in Atlantic City and, after several victories, finds himself facing off against a more world-wise Vincent.
He beats Vincent, but when he is celebrating with girlfriend Janelle, Vincent arrives and informs Eddie that he intentionally lost in order to collect on a bet. He gives Eddie $8,000 as his "cut." During his semi-final match, Eddie sees his reflection in the two-ball. Out-hustled again, Eddie returns the money; the two set up a private match, where Eddie informs Vincent that if he doesn't beat him now, he will in the future because "I'm back!" Paul Newman as Fast Eddie Felson Tom Cruise as Vincent Lauria Mary Elizabeth Mastrantonio as Carmen Helen Shaver as Janelle John Turturro as Julian Bill Cobbs as Orvis Forest Whitaker as Amos Scorsese has cited the influence of techniques and lighting in the 1947 Powell-Pressburger classic Black Narcissus in making the film. In particular he states that the extreme close ups of Tom Cruise around the pool table were inspired by those of the nuns in that film. Newman said that the best advice he was given by Scorsese was to "try not to be funny". Cruise performed most of his own shots.
An exception was a jump shot over two balls to sink another. Scorsese believed Cruise could learn the shot, but that it would take too long, so the shot was performed for him by Mike Sigel. Cruise mentioned, to prepare for the role, he bought a pool table for his apartment and practiced for hours on end. Standing in for the valuable "Balabushka" cue in the movie was a Joss J-18, made to resemble a classic Balabushka. Mike Sigel was technical director, he and Ewa Mataya Laurance served as technical consultants and shot-performers on the film. Absent from the film is the character Minnesota Fats, played by Jackie Gleason in The Hustler. Newman said that he had wanted the character to appear, but that none of the attempts to include him fit well into the story, being written. According to Scorsese, Gleason agreed with Newman's opinion that Minnesota Fats was not essential to the film's story. Scorsese said that Gleason was presented a draft of the script that had Fats worked into the narrative, but that upon reading it, Gleason declined to reprise the role because he felt that the character seemed to have been added as "an afterthought".
Reflecting the general theme of the film, director Martin Scorsese delivers an opening uncredited voiceover, describing the game of nine-ball, over a scene of cigarette smoke and a piece of cue chalk: Nine-Ball is rotation pool, the balls are pocketed in numbered order. The only ball that means anything, that wins it, is the 9. Now, the player can shoot eight trick shots in a row, blow the 9, lose. On the other hand, the player can get the 9 in on the break, if the balls spread right, win. Which is to say, that luck plays a part in nine-ball, but for some players, luck itself is an art. The soundtrack to the motion picture was released by MCA Records in 1986; the Color of Money held its world premiere at the Ziegfeld Theater in New York City, NY on October 8, 1986. The film was commercially released in the United States on October 17, 1986, in the Philippines on March 25, 1987; the American release was limited to only select theaters throughout the country, with the film opening in more theaters during the next four weeks of its initial release.
After its run, the film grossed $52,293,982 domestically. The film received positive critical response upon its release, though many critics noted that the film was an inferior followup to The Hustler. Based on 46 reviews collected by Rotten Tomatoes, the film received an 89% approval rating from critics, with an average score o
The Man Who Fell to Earth
The Man Who Fell to Earth is a 1976 British science fiction film directed by Nicolas Roeg and written by Paul Mayersberg, based on Walter Tevis's 1963 novel of the same name, about an extraterrestrial who crash lands on Earth seeking a way to ship water to his planet, suffering from a severe drought. The film retains a following for its use of surreal imagery and the performance by David Bowie as the alien Thomas Jerome Newton; the same novel was remade as a less successful 1987 television adaptation. The film was produced by Michael Deeley and Barry Spikings, who reunited two years to work on The Deer Hunter. Despite a mixed critical response upon release, the film is now considered an important work of science fiction cinema and one of the best films of Roeg's career. Thomas Jerome Newton is a humanoid alien who comes to Earth from a distant planet on a mission to take water back to his home planet, experiencing a catastrophic drought. Throughout the film are brief sequences of his wife and children back on his home planet, suffering dying.
Newton uses the advanced technology of his home planet to patent many inventions on Earth, acquires tremendous wealth as the head of a technology-based conglomerate, World Enterprises Corporation, aided by leading patent attorney Oliver Farnsworth. His wealth is needed to construct a space vehicle with the intention of shipping water back to his home planet. While revisiting New Mexico, he meets Mary-Lou, a lonely and simple girl who works as a maid, bell-hop, elevator operator in a small hotel. Mary-Lou introduces Newton to many customs of Earth, including church-going and sex, she and Newton live together in a house Newton has built close to where he first landed in New Mexico. Meanwhile, Dr. Nathan Bryce, a former womaniser and college professor, has landed a job as a fuel technician with World Enterprises and becomes Newton's confidant. Bryce senses Newton's alienness and arranges a meeting with Newton at his home where he has hidden a special X-ray camera; when he steals a picture of Newton with the camera, it reveals Newton's alien physiology.
Newton's appetite for alcohol and television becomes he and Mary-Lou fight. Realizing that Bryce has learnt his secret, Newton reveals his alien form to Mary-Lou, her resulting reaction is one of pure shock and horror, he leaves her. Newton completes the spaceship and attempts to take it on its maiden voyage amid intense press exposure. However, just before his scheduled take-off, he is seized and detained by the government and a rival company; the government, told by Bryce that Newton is an alien, holds him captive in a locked luxury apartment, constructed deep within a hotel. During his stay, they keep him sedated with alcohol and continuously subject him to rigorous medical tests – notably one involving X-rays which causes the contact lenses he wears as part of his human disguise to permanently affix themselves to his eyes. Toward the end of his years of captivity, he is visited again by Mary-Lou, now much older and whose looks have been ravaged by alcohol and time, they have mock-violent, playful sex that involves firing a gun with blanks, afterwards occupy their time drinking and playing table tennis.
Mary-Lou declares. She leaves him. Newton discovers that his "prison," now derelict, is unlocked, he leaves. Unable to return home, a broken and alcoholic Newton creates a recording with alien messages, which he hopes will be broadcast via radio to his home planet. Bryce, who has since married Mary-Lou, buys a copy of the album and meets Newton at an outside restaurant in town. Newton is still young looking despite the passage of many years. However, Newton has fallen into depression and alcoholism and the film ends with an inebriated Newton passing out in his cafe chair. David Bowie as Thomas Jerome Newton Rip Torn as Dr. Nathan Bryce Candy Clark as Mary-Lou Buck Henry as Oliver V. Farnsworth Bernie Casey as Mr. Peters Tony Mascia as Arthur Rick Riccardo as Trevor Adrienne La Russa as Helen Claudia Jennings as Peters' Wife Albert Nelson Paramount Pictures had distributed Roeg's previous film, Don't Look Now and agreed to pay $1.5 million for the US rights. Michael Deeley used this guarantee to raise finance to make the film.
Filming began on 6 July 1975. The film was shot in New Mexico, with filming locations in Albuquerque, White Sands and Fenton Lake; the film's production had been scheduled to last eleven weeks, throughout that time, the film crew ran into a variety of obstacles: Bowie was sidelined for a few days after drinking bad milk. Bowie, using cocaine during the movie's production, was in a fragile state of mind when filming was underway, going so far as to state in 1983 that "I'm so pleased I made that, but I didn't know what was being made at all", he said of his performance: I just threw my real self into that movie as I was at that time. It was the first thing I'd done. I was ignorant of the established procedure, so I was going a lot on instinct, my instinct was pretty dissipated. I just did them the way I was feeling, it wasn't that far off. I was feeling as alienated as that character was, it was a p
The Hustler (film)
The Hustler is a 1961 American CinemaScope drama film directed by Robert Rossen from Walter Tevis's 1959 novel of the same name, adapted for the screen by Rossen and Sidney Carroll. It tells the story of small-time pool hustler "Fast Eddie" Felson and his desire to break into the "major league" of professional hustling and high-stakes wagering by high-rollers that follows it, he throws his raw talent and ambition up against the best player in the country, seeking to best the legendary pool player "Minnesota Fats". After losing to Fats and getting involved with unscrupulous manager Bert Gordon, Eddie returns to try again, but only after paying a terrible personal price; the film was shot on location in New York City and stars Paul Newman as "Fast" Eddie Felson, Jackie Gleason as Minnesota Fats, Piper Laurie as Sarah, George C. Scott as Bert; the Hustler was a major popular success, gaining a reputation as a modern classic. Its exploration of winning and character garnered a number of major awards.
Small-time pool hustler "Fast Eddie" Felson travels cross-country with his partner Charlie to challenge the legendary player "Minnesota Fats". Arriving at Fats' home pool hall, Eddie declares. Fats arrives and he and Eddie agree to play straight pool for $200 a game. After falling behind, Eddie surges back to being $1,000 ahead and suggests raising the bet to $1,000 a game, he sends out a runner, Preacher, to Johnny's Bar, ostensibly for whiskey, but to get professional gambler Bert Gordon to the hall. Eddie gets ahead $11,000 and Charlie tries to convince him to quit, but Eddie insists the game will end only when Fats says it is over. Fats agrees to continue after Bert labels Eddie a "loser." After 25 hours and an entire bottle of bourbon, Eddie is ahead over $18,000, but loses it all along with all but $200 of his original stake. At their hotel Eddie leaves half of the remaining stake with a sleeping Charlie and leaves. Eddie stashes his belongings at the local bus terminal, where he meets Sarah Packard, an alcoholic, supported by her father, attends college part-time, walks with a limp.
He meets her again at a bar. They go back to her place but she refuses to let him in, saying he is "too hungry". Eddie starts hustling for small stakes, he finds Sarah again and this time she takes him in, but with reservations. Charlie tries to persuade him to go back out on the road. Eddie refuses and Charlie realizes he plans to challenge Fats again. Eddie realizes that Charlie held out his percentage and becomes enraged, believing that with that money he could have rebounded to beat Fats. Eddie tells him to "go lie down and die" by himself. At Johnny's Bar, Eddie joins a poker game where Bert is playing, loses $20. Afterward, Bert tells Eddie, he figures. Bert calls him a "born loser" but offers to stake him in return for 75% of his winnings. Eddie humiliates a local pool shark, exposing himself as a hustler, the other players punish him by breaking his thumbs; as he heals, Sarah cares for him and tells him she loves him, but he cannot say the words in return. When Eddie is ready to play, he agrees to Bert's terms, deciding that a "25% slice of something big is better than a 100% slice of nothing".
Bert and Sarah travel to the Kentucky Derby, where Bert arranges a match for Eddie against a wealthy local socialite named Findley. The game turns out to be three-cushion billiards, not pool; when Eddie loses badly, Bert refuses to keep staking him. Sarah pleads with Eddie to leave with her, saying that the world he is living in and its inhabitants are "perverted and crippled". Seeing Eddie's anger, Bert agrees to let the match continue at $1,000 a game. Eddie comes back to win $12,000, he decides to walk back to the hotel. Bert arrives first and after an awkward exchange, kisses the unamused Sarah. Afterwards, she scrawls "PERVERTED", "TWISTED", "CRIPPLED" in lipstick on the bathroom mirror. Eddie arrives back at the hotel to learn. Eddie returns putting up his entire $3,000 stake on a single game, he wins game after game. Bert threatens that Eddie will be injured unless he pays, but Eddie says. Instead, Bert orders Eddie never to walk into a big-time pool hall again. Eddie and Fats compliment each other as players, Eddie walks out.
Cast notes Pool champion Willie Mosconi has a cameo appearance as Willie, who holds the stakes for Eddie and Fats's games. Mosconi's hands appear in many of the closeup shots; the Tevis novel had been optioned several times, including by Frank Sinatra, but attempts to adapt it for the screen were unsuccessful. Director Rossen's daughter Carol Rossen speculates that previous adaptations focused too much on the pool aspects of the story and not enough on the human interaction. Rossen, who had hustled pool himself as a youth and who had made an abortive attempt to write a pool-themed play called Corner Pocket, optioned the book and teamed with Sidney Carroll to produce the script. According to Bobby Darin's agent, Martin Baum, Paul Newman's agent turned down the part of Fast Eddie. Newman was unavailable to play Fast Eddie regardless, being committed to
Harper is an American publishing house the flagship imprint of global publisher HarperCollins. James Harper and his brother John, printers by training, started their book publishing business J. & J. Harper in 1817, their two brothers, Joseph Wesley Harper and Fletcher Harper, joined them in the mid-1820s. The company changed its name to "Harper & Brothers" in 1833; the headquarters of the publishing house were located at 331 Pearl Street, facing Franklin Square in Lower Manhattan. Harper & Brothers began publishing Harper's New Monthly Magazine in 1850; the brothers published Harper's Weekly, Harper's Bazar, Harper's Young People. George B. M. Harvey became president of Harper's on Nov. 16, 1899. Harper's New Monthly Magazine became Harper's Magazine, now published by the Harper's Magazine Foundation. Harper's Weekly was absorbed by The Independent in 1916, which in turn merged with The Outlook in 1928. Harper's Bazar was sold to William Randolph Hearst in 1913, became Harper's Bazaar, is now Bazaar, published by the Hearst Corporation.
In 1924, Cass Canfield joined Harper & Brothers and held a variety of executive positions until his death in 1986. In 1925, Eugene F. Saxton joined the company as an editor, he was responsible for publishing many well-known authors, including Edna St. Vincent Millay and Thornton Wilder. In 1935, Edward Aswell moved to Harper & Brothers as an assistant editor of general books and became editor-in-chief. Aswell persuaded Thomas Wolfe to leave Scribner's, after Wolfe's death, edited the posthumous novels The Web and the Rock, You Can't Go Home Again, The Hills Beyond. In 1962 Harper & Brothers merged with Row, Peterson & Company to become Harper & Row. Harper's religion publishing moved to San Francisco and became Harper San Francisco in 1977. Harper & Row acquired Thomas Y. Crowell Co. and J. B. Lippincott & Co. in the 1970s. Marshall Pickering was bought by Harper & Row in 1988. In 1988, Harper & Row purchased the religious publisher Zondervan. Rupert Murdoch's News Corporation acquired Harper & Row in 1987, William Collins, Sons in 1990.
The names of these two national publishing houses were combined to create HarperCollins, which has since expanded its international reach with further acquisitions of independent publishers. The Harper imprint began being used in place of HarperCollins in 2007. After the purchase of Harper & Row by News Corporation, HarperCollins launched a new mass market paperback line to complement its existing trade paperback Perennial imprint, it was known as Harper Paperbacks from 1990 to 2000, HarperTorch from 2000 to 2006, Harper from 2007 to the present. Harper & Row v. Nation Enterprises The Long Short Cut Brooks Thomas Books in the United States Jacob Abbott, The Harper Establishment, New York: Harper & Brothers, OCLC 6798043 Barnes, James J. "Edward Lytton Bulwer and the Publishing Firm of Harper & Brothers." American Literature: 35-48. In JSTOR D'Amato, Martina. "'The Harper Establishment'. Exman, Eugene; the brothers Harper: a unique publishing partnership and its impact upon the cultural life of America from 1817 to 1853 Eugene Exman, The House of Harper, NY: Harper & Row, OCLC 586430 J. Henry Harper, The House of Harper: a century of publishing in Franklin Square, New York: Harper Mellman, John A.
"The Harper Torchbooks Series: A History and Personal Assessment", publishinghistory.com. Harper & Brothers' List of Publications, New York: Harper & Brothers, 1859 Official website Official website The Harper Brothers Founders of Harper Brothers Publishing
Glossary of cue sports terms
The following is a glossary of traditional English-language terms used in the three overarching cue sports disciplines: carom billiards referring to the various carom games played on a billiard table without pockets. There are hybrid pocket/carom games such as English billiards; the term "billiards" is sometimes used to refer to all of the cue sports, to a specific class of them, or to specific ones such as English billiards. The labels "British" and "UK" as applied to entries in this glossary refer to terms originating in the UK and used in countries that were recently part of the British Empire and/or are part of the Commonwealth of Nations, as opposed to US terminology; the terms "American" or "US" as applied here refer to North American usage. However, due to the predominance of US-originating terminology in most internationally competitive pool, US terms are common in the pool context in other countries in which English is at least a minority language, US terms predominate in carom billiards.
British terms predominate in the world of snooker, English billiards and blackball, regardless of the players' nationalities. The term "blackball" is used in this glossary to refer to both blackball and eight-ball pool as played in the Commonwealth, as a shorthand. Blackball was chosen because it is less ambiguous, blackball is globally standardized by an International Olympic Committee-recognized governing body, the World Pool-Billiard Association. Foreign-language terms are not within the scope of this list, unless they have become an integral part of billiards terminology in English, or they are crucial to meaningful discussion of a game not known in the English-speaking world. 1-cushion See the Straight rail billiards main article for the game sometimes called "one-cushion". 1-pocket See the One-pocket main article for the game. 3-ball See the Three-ball main article for the game. 3-cushion See the Three-cushion billiards main article for the game. 4-ball See the Yotsudama main article for the modern Asian game called "four-ball".
See the American four-ball billiards main article for the nineteenth-century game. 5-pins See the Five-pin billiards main article for the Italian, now internationally standardized game, or Danish pin billiards for the five-pin traditional game of Denmark. 6-ball See the Nine-ball#Six-ball sub-article for the game. 8-ball See the Eight-ball main article for the game. See the 8 ball entry, under the "E" section below, for the ball. See 8 ball for derivative uses. 9-ball See the Nine-ball main article for the game. See the 9 ball entry, under the "N" section below, for the ball. 9-pins See the Goriziana main article for the game sometimes called nine-pins. 10-ball See the Ten-ball main article for the game. Above Used in snooker in reference to the position of the cue ball, it is above the object ball if it is off-straight on the baulk cushion side of the imaginary line for a straight pot. It is common to use the term high instead. Action 1. Gambling or the potential for gambling. 2. Lively results on a ball the cue ball, from the application of spin.
3. Short for cue action. Added Used with an amount to signify money added to a tournament prize fund in addition to the amount accumulated from entry fees. Ahead race Also ahead session. A match format in which a player has to establish a lead of an agreed number of frames in order to win. Contrast race. Aiming line An imaginary line drawn from the desired path an object ball is to be sent and the center of the object ball. Anchor To freeze a ball to a cushion; this term is obsolete balkline billiards jargon. Anchor nurse A type of nurse shot used in carom billiards games. With one object ball being anchored to a cushion and the second object ball just away from the cushion, the cue ball is grazed across the face of both balls, freezing the away ball to the rail and moving the frozen ball away the same distance its partner was in an identical but reversed configuration, in position to be struck again by the cue ball from the opposite side to repeat this pattern and forth. Compare cradle cannon. Anchor space A 7-inch square box drawn on the table in balkline billiards, from the termination of a balkline with the cushion, thus defining a restricted space in which only 3 points may be scored before one ball must be driven from the area.
It developed to curtail the effectiveness of the chuck nurse, which in turn had been invented to thwart the effectiveness of Parker's box in stopping lo