Bøger af Kevin Alexander Boon

"A clearly heroic and brilliant work." - Kurt Vonnegut, author of Slaughterhouse-Five and Cat's Cradle B.O.O.T. (The Book of Obvious Truth) For over two thousand years, the Book of Obvious Truth traversed history, passing through a chain of historical luminaries. Rumored to contain entries by Socrates, Galileo, Jesus of Nazareth, Friedrich Nietzsche, and a string of others, the sole copy of the B.O.O.T. remains elusive, as mysterious as the Q-gospel and Aristotle's book on humor, a footnoted allusion in scholarly works and the object of fascination for enigmatic religious organizations and avaricious collectors. When Benjamin Yes, a reclusive Jazz musician struggling to escape his lineage, stumbles across the book in the lining of a Salvation Army jacket, the find thrusts Benjamin into a dark world of secret societies, malicious moguls, and would-be messiahs. As the book's reluctant benefactor, Benjamin negotiates a maze of eccentric characters in his attempt to escape the B.O.O.T. and undo the disruption it brings to his otherwise unruffled life. In the end, he learns that the truth can be a heavy burden and is forced to reconcile himself to his destiny.

JESUS VS. THE ZOMBIES OF PERDITION Jesus is back. He's come to save the world from an impending zombie apocalypse. But this is not first-century Judea. This is America in the twenty-first century and people are reluctant to listen to a long-haired Jewish man in a loincloth no matter how good a speech he has prepared. Jesus struggles to fit in until a young wiccan woman with a fascination for all things metaphysical takes him under her wing, assuming him to be another wayward soul in need of saving. But when it rains frogs and Jesus turns water into wine, she realizes there is more to the man than bad fashion sense and a 70s haircut. So, when a meteor streaks through the sky, she follows him to a small town in Maryland where the dead have begun to rise and reenact the movements of the confederacy during the Battle of Gettysburg. Unfortunately for local authorities, the military, and teenagers anxious to live out their Xbox fantasies, the dead do not die - even when you shoot them in the head! The only chance for survival rests with Jesus and a ragtag band of unlikely disciples who must locate a blessed sword before the zombie army wins in Gettysburg and moves on to conquer the world.

Though the history of the screenplay is as long and rich as the history of film itself, critics and scholars have neglected it as a topic of serious research. Script Culture and the American Screenplay treats the screenplay as a literary work in its own right, presenting analyses of screenplays from a variety of frameworks, including feminism, Marxism, structuralism, philosophy, and psychology. In distancing the text of screenplays from the on-screen performance typically associated with them, Kevin Alexander Boon expands the scope of film studies into exciting new territory with this volume. Script Culture and the American Screenplay is divided into two parts. Part 1 provides a general background for screenplay studies, tracing the evolution of the screenplay from the early shot lists and continuities of George Mlis and Thomas Harper Ince to the more detailed narratives of contemporary works. Part 2 offers specific, primarily thematic, critical examinations of screenplays, along with discussions of the original screenplay and the screenplay adaptation. In all, Boon explains that screenplay criticism distinguishes itself from traditional film studies in three major ways. The primary focus of screenplay criticism is on the screenplay rather than the film, the focus of screenplay studies is on the screenwriter rather than the director, and screenplay criticism, like literary criticism, is written to illuminate a reader's understanding of the text. Boon demonstrates that whether we are concerned with aesthetics and identifying rules for distinguishing the literary from the non-literary, or whether we align ourselves with more contemporary theories, which recognize texts as distinguishable in their inter-relationships and marked difference, screenplays constitute a rich cache of works worthy of critical examination. Film scholars as well as students of film, creative writing, and literary studies will appreciate this singular volume.