The result of the midnight rape of a tavern wench, Apropos is an unlikely hero: rogue, rascal, scoundrel, cheat -- and those are his good points. Lame but cunning, he thinks that chivalry is not dead simply because he isn't finished with it.All too aware of his violent and unseemly beginnings, Apropos travels to the court of the good King Runcible with three goals: to find his father, seek retribution, and line his pockets. Instead he finds himself assigned as squire to the most senile knight in the court, Sir Umbrage of the Flaming Nether Regions. When he also encounters a berserk phoenix, murderous unicorns, mutated harpies, homicidal warrior kings, and a princess who may be a psychotic arsonist, Apropos must use all his wits -- and his flashing blade -- to survive.

Everything you wanted to know about the Lacanian critique of deconstruction, but were afraid to ask the Coen Brothers. The Coen Brothers’ films are rife with figures of absence. In The Big Lebowski, the Dude does nothing. He is put on the trail of a kidnapping that never happened, and solves the crime when he realizes that he paid the ransom with “a ringer for a ringer.” The Hudsucker Proxy features a dupe who draws zeros throughout the film, enthusiastically proclaiming, “You know, for the kids!” Barton Fink is a film that revolves around the absence of a film. In Apropos of Nothing, Clark Buckner appeals to these and other figures of the void in the Coen Brothers’ films in order to articulate the close proximity and ultimate opposition between Lacanian psychoanalysis and Derridean deconstruction. In the process, he situates both theories in relationship to Heidegger’s existential phenomenology, and undertakes a comparative analysis of the negativity in death, language, drive, anxiety, visual perception, paternity, and the unconscious. Formulating one of the most theoretically rigorous readings of the Coens’ oeuvre to date, Buckner also offers a readable overview of some central debates in late twentieth-century continental philosophy.

The Long-Awaited, Enormously Entertaining Memoir by One of the Great Artists of Our Time—Now a New York Times, USA Today, Los Angeles Times, and Publisher’s Weekly Bestseller. In this candid and often hilarious memoir, the celebrated director, comedian, writer, and actor offers a comprehensive, personal look at his tumultuous life. Beginning with his Brooklyn childhood and his stint as a writer for the Sid Caesar variety show in the early days of television, working alongside comedy greats, Allen tells of his difficult early days doing standup before he achieved recognition and success. With his unique storytelling pizzazz, he recounts his departure into moviemaking, with such slapstick comedies as Take the Money and Run, and revisits his entire, sixty-year-long, and enormously productive career as a writer and director, from his classics Annie Hall, Manhattan, and Annie and Her Sisters to his most recent films, including Midnight in Paris. Along the way, he discusses his marriages, his romances and famous friendships, his jazz playing, and his books and plays. We learn about his demons, his mistakes, his successes, and those he loved, worked with, and learned from in equal measure. This is a hugely entertaining, deeply honest, rich and brilliant self-portrait of a celebrated artist who is ranked among the greatest filmmakers of our time.

Richard Jones's lucid poems sanctify life's quietest moments and are as perfect and necessary as birdsong.