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The first book in any language on John Cassavetes
Ray Carney, American Dreaming: The Films of John Cassavetes and the American Experience (Berkeley: University of California Press, 1985). $20
[From the original dust jacket description:] John Cassavetes is known to millions of filmgoers as an actor who has appeared in Rosemary’s Baby, The Dirty Dozen, Whose Life Is It, Anyway?, Tempest, and many other Hollywood movies. But what is less known is that Cassavetes acts in these films chiefly in order to finance his own unique independent productions. Over the past 25 years, working almost entirely outside the Hollywood establishment, Cassavetes has written, directed, and produced ten extraordinary films. They range from romantic comedies like Shadows and Minnie and Moskowitz to powerful, poignant domestic dramas like Faces and A Woman Under the Influence to unclassifiable emotional extravaganzas like Husbands, The Killing of a Chinese Bookie, and Gloria.
This is the first book-length study ever devoted to this controversial and iconoclastic filmmaker. It is the argument of American Dreaming that Cassavetes has single-handedly produced the most stunningly original and important body of work in contemporary film. Raymond Carney examines Cassavetes’ life and work in detail, traces his break with Hollywood, and analyzes the cultural and bureaucratic forces that drove him to embark on his maverick career. Cassavetes work is considered in the context of other twentieth-century forms of traditional and avant-garde expression and is provocatively contrasted with the better-known work of other American and European filmmakers.
The portrait of John Cassavetes that emerges in these pages is of an inspiringly idealistic American dreamer attempting to beat the system and keep alive his dream of personal freedom and individual expression – just as the characters in the films excitingly try to keep alive their middle-class dreams of love, freedom, and self-expression in the hostile emotional and familial environments in which they function. His films are chronicles of the yearnings, desires, and frustrations of the American dream. He is America’s truest historian of the inevitable conflict between the ideals and the realities of the American experience.
[From the original author blurb:] Raymond Carney has written extensively on contemporary fiction, poetry, drama, dance, and film. He teaches at Middlebury College, Vermont. [RC: No longer true. I am at Boston University.]
Raymond
Carney, American Dreaming:
The Films of John Cassavetes and the American Experience
Table of Contents
| Introduction | |
| I | Freedom from Styles and Styles of Freedom |
| II | Making Scenes
and Forging Identities The Making of Shadows |
| III | Children,
Clowns, and Con Men Working for Hollywood on Too Late Blues and A Child Is Waiting |
| IV | Figures of
Desire Faces |
| V | In Dreams
Begin Responsibilities Husbands |
| VI | Love of the
Run Minnie and Moskowitz |
| VII | Mastering
the Influences A Woman Under the Influence |
| VIII | Self–Defense,
Self–Sufficiency, and Self–Annihilation The Killing of a Chinese Bookie |
| IX | Bureaucracies
of the Imagination Opening Night |
| X | Beating the
System Gloria |
| XI | Worrying the Dream |
| Notes | |
| Filmography | |
| Rental Sources for the Films | |
| Index |
Rave reviews for Ray Carney’s pioneering American Dreaming: The Films of John Cassavetes and the American Experience (Berkeley, California: University of California Press, 1985), the first book ever written about Cassavetes’ life and work, in any language. It has long been out of print but is now newly available through this web site for $20 in a Xerox of the original edition. You may order over the internet with a credit card through PayPal or through the mail with a money order. See below.
Critical acclaim and rave reviews for Ray Carney's American Dreaming: The Films of John Cassavetes and the American Experience
| Kathryn Jankowski, The San Francisco Chronicle Sunday Review, June 23, 1985 |
Complex
Portrait of an Iconoclast
“American Dreaming is an intense and intriguing exploration of the films of John Cassavetes, whom author Raymond Carney heralds as 'America’s greatest, yet most astonishingly neglected and misunderstood, filmmaker.' “According to Carney, no one has ever undertaken a study of Cassavetes’ work before, because the actor-director’s films neither look nor feel like other movies. In order to appreciate the man, says Carney, we must free ourselves from ‘prefabricated structures and codes of understanding, including, but not limited to, the systems of meaning most critics look for and describe in works of art.’ “To support his contention that Cassavetes' experiments with these ‘systems of meaning’ – pacing, photography, narrative, theme – are underrated by critics and audiences alike, Carney painstakingly analyzes how and way Cassavetes’ chronicles.... are unjustly deemed inferior by an artistic establishment enraptured by metaphorical and philosophical films. “Carney argues persuasively for the supremacy of what he asserts is the theme – ‘characters in invigorating transit between authentic life and stultifying, prefabricated, predetermined styles of expression.’ He bolsters his arguments with trenchant examples from Cassavetes’ oeuvres, and parallels intelligently Cassavetes’ personal fight for individuality in a movie-making bureaucracy with his cinematic middle-class characters’ struggle to achieve love and integrity in an environment hostile to both. “Carney discusses what he considers to be important influences in Cassavetes’ life, among them an idealistic Greek father who immigrated to America at the age of 12, his training as a ‘method’ actor, documentary filmmakers Shirley Clarke, Morris Engel, and Lionel Rogosin, New York’s avant-garde film community, the Italian neorealists and, of course, Hollywood. “The author also succeeds in finding analogies with other artists he claims share Cassavetes’ avoidance of stylistic and rhetorical patterns, such as writers Frost, Bishop, and Welty, and choreographer George Balanchine. Moreover, Carney establishes Cassavetes convincingly as a filmmaker in the populist tradition of Capra and Chaplin. “What emerges
is a complex portrait of an iconoclast who acts in studio productions
primarily to finance his own independent films, a man Carney
sums up as ‘our noblest, most inspiring, and truest historian
of the American experience.’ While one may dispute that
assessment, American Dreaming does spark a desire
to review Cassavetes’ films, and therein lies one of
the biggest frustrations of the book. With the exception of Gloria,
available on videocassette, the films discussed are rarely
screened.” [RC: The sad state of affairs in 1985 when
I wrote this book, only slightly better today.] |
| The Film Review, Longwood, England, 1986 |
| [Just
for laughs, I have included the editor’s addition to the
reviewer’s text when it appeared in print. The contention
that Cassavetes was a major filmmaker was considered utterly preposterous
at the point the book was published.] “A study in depth of the films of John Cassavetes. Known mainly to the general cinemagoer for his acting roles in Rosemary’s Baby, The Dirty Dozen, The Fury, and others, Cassavetes' real interest has lain in the making of a series of highly personal and original films, tracing with subtlety and insight the complications of human relationships. That he is ‘America’s greatest filmmaker’ may be open to argument [It most certainly is! — Editor], but that he has been ‘astonishingly neglected and misunderstood’ is probably true. This detailed, enthusiastic, and well-written book should go far to widen interest in his work. There is an excellent filmography.” |
| Cinema Notes and Reviews, December 11, 1986 |
| “This study is – in its peculiarly intelligent way – almost as passionate and erratic as some of the movies it discusses. Carney’s book begins the long overdue full assessment of an extraordinary director’s achievement. It also calls into question a wide range of commonly held assumptions about ‘well-made’ films, and on these bases alone it is one of the half-decade’s most important critical studies on American film.” |
| Lucio Benedetto, PostScript Magazine, Winter 1992 |
| "By far the most thorough, ambitious, and far-reaching criticism of Cassavetes' work has been accomplished by Raymond Carney, currently Professor of Film and American Studies at Boston University. Carney wrote the first book-length study of Cassavetes, who languished in critical obscurity until the publication of Carney's American Dreaming in 1985.... In Carney's view, to settle the accounts of our lives, to decide once and for all, is, for Cassavetes, to tumble headlong into the abyss of nonentity upon which we incessantly verge. Carney argues that Cassavetes has re-invented the craft of filmmaking in ways that drastically alter our casual habits of film viewing. To adapt William James' terminology (which Carney is indebted to) Cassavetes' works are concerned less with the events and finished episodes that make up the 'substantive' parts of our experience and more with the moments of insecurity, the 'transitive' slippages during which our habitual strategies for understanding and stabilizing our relationships with ourselves and others cease to function in any useful way.... Carney's work with Cassavetes, placed within the context of his later book, American Vision, on Frank Capra, can be viewed as an attempt not only to further the understanding of American film, but to forge a new synthesis of understanding in American Studies, making his critical works valuable not only to film scholars, but to students of American culture generally." |
| Inspired
by this book, composer Marc Couroux borrowed its title for
one of his compositions, Couroux's American Dreaming John
Cassavetes (Quelques Monuments de la Rue Ste-Catherine).
A
statement by Couroux about his work follows, along
with two passages drawn from another book by Ray
Carney, The Films of John Cassavetes: Pragmatism,
Modernism, and the Movies, that inspired him
especially when he composed the music: |
| American
Dreaming is named after the book by Raymond Carney on filmmaker
John Cassavetes (1929-1989), the very first study of this revolutionary
artist. I first came to Cassavetes through his film Husbands,
which was unlike anything I had ever seen...all the cracks and
fissures and unpredictabilities of human experience were present.
But also, he always seemed to find a way to make clear that we
are capable of extreme flights of fantasy, of breaking out of
the sedentary, stiff existence his characters ordinarily lead.
The weird non-linear behavior of his characters is something
we are all innately capable of yet rarely access. In my music,
the prevalent jumble occasionally takes eccentric turns to the
intelligible (at least seemingly), a kind of fake quantization,
where for a few minutes the rhythm becomes traditionally aligned
though the remaining elements of the discourse (including general
bodily comportment) are exactly as they were. A sort of extremely
unfathomable, unlikely, false "arrival". I try to allow
for these things to come into play when there is a suitable crack
in the material or some fortuitous intuition.
Raymond Carney in The Films of John Cassavetes - Pragmatism, Modernism, and the Movies: "In Cassavetes' work, rather than cumulating, succeeding meanings are orchestrated so as to erase or war with preceding ones. Rather than adding up, the jump-cuts in Minnie and Moskowitz hack each preceding understanding to pieces. Meaning is proliferated away from all static or unifying centers of significance...One of the generating events in each film is for the central character to have the rug pulled out from under him or her early in the narrative. . .so that the character is suddenly forced to reevaluate all of the fictions that organized life up to that point...." "Cassavetes offers us 'concatenated knowing' in place of 'consolidated knowing'. Rather than rushing TO a portable meaning, the viewer is forced to live THROUGH a changing course of events. In this view of it, meaning is always in transition: it lives in endless, energetic substitutions of one interest and focus for another, in continuous shifts of tone, in fluxional slides of relationship." |
Other writing by Ray Carney about John Cassavetes' life and work
Ray Carney, Cassavetes
on Cassavetes (Faber and Faber in London, and Farrar, Straus
and Giroux in New York), copiously illustrated, paperback, approximately
550 pages. Available directly from the author for $25.
Cassavetes
on Cassavetes is the autobiography John Cassavetes never lived to
write. It tells an extraordinary saga – thirty years of film history, chronicling
the rise of the American independent movement – as it was lived by
one of its pioneers and one of the most important artists in
the history of the medium. The struggles, the triumphs, the crazy dreams
and frustrations are all here, told in Cassavetes' own words. Cassavetes
on Cassavetes tells the day-by-day story of the making of some of
the greatest and most original works of American film. —from the "Introduction:
John Cassavetes in His Own Words"
Click here to access a detailed description of the book and a summary of the topics covered in it.
* * *
Cassavetes on Cassavetes is available in the United States through Amazon and Barnes and Noble, and in England through Amazon (UK), Faber and Faber (UK). It is also available at your local bookseller, or, for a limited time, directly from the author (in discounted, specially autographed editions) for $25 via this web site. See below for information how to order this book directly from this web site by money order, check, or credit card (using PayPal).
* * *
Ray Carney, The Films
of John Cassavetes: Pragmatism, Modernism, and the Movies
(New York and Cambridge: Cambridge University Press, 1994), 48 illustrations,
paperback, 322 pages. This book is available directly from the author for $20.
The Films of John Cassavetes tells the inside story of the making
of six of Cassavetes' most important works: Shadows, Faces, Minnie
and Moskowitz, A Woman under the Influence, The Killing
of a Chinese Bookie, and Love Streams.
With the help of almost fifty previously unpublished photographs from the private collections of Sam Shaw and Larry Shaw, and excerpts from interviews with the filmmaker and many of his closest friends, the reader is taken behind the scenes to watch the maverick independent at work: writing his scripts, rehearsing his actors, blocking their movements, shooting his scenes, and editing them. Through words and pictures, Cassavetes is shown to have been a deeply thoughtful and self-aware artist and a profound commentator.
This iconoclastic, interdisciplinary study challenges many accepted notions in film history and aesthetics. Ray Carney argues that Cassavetes' films participate in a previously unrecognized form of pragmatic American modernism that, in its ebullient affirmation of life, not only goes against the world-weariness and despair of many twentieth-century works of art, but also places his works at odds with the assumptions and methods of most contemporary film criticism.
Cassavetes' films are provocatively
linked to the philosophical writing of Ralph Waldo Emerson, William
James, and John Dewy, both as an illustration of the artistic consequences
of a pragmatic aesthetic and as an example of the challenges and rewards
of a life lived pragmatically. Cassavetes' work is shown to reveal
stimulating new ways of knowing, feeling, and being in the world.
This book is available through Amazon, Barnes
and Noble, your local bookseller, or, for a limited time, directly from
the author (in discounted, specially autographed editions). See
below for information how to order this book directly from the author by money
order, check, or credit card.
Clicking on the above links will open a new window in your browser. You may return to this page by closing that window or by clicking on the window for this page again.
* * *
For reviews and critical responses to The Films of John Cassavetes, please click here. (Use your back button to return.)
* * *
Ray Carney, John Cassavetes:
The Adventure of Insecurity
(Boston: Company C Publishing, 1999), 25 illustrations, paperback, 68 pages.
This book is available directly from the author for $15.
|
This book is available through Amazon, Barnes and Noble, your local bookseller, or, for a limited time, directly from the author (in discounted, specially autographed editions). See below for information how to order this book directly from the author by money order, check, or credit card.
Clicking on the above links will open a new window in your browser. You may return to this page by closing that window or by clicking on the window for this page again.
* * *
Ray Carney, Shadows (BFI
Film Classics, ISBN: 0-85170-835-8), 88
pages. This book is available directly from the author via
this web site for $20.
"Ray Carney is a tireless researcher who probably knows more about the shooting of Shadows than any other living being, including Cassavetes when he was alive, since Carney, after all, has the added input of ten or more of the film’s participants who remember their own unique versions of the reality we all shared."—Maurice McEndree, producer and editor of Shadows
"Bravo! Cassavetes is fortunate to have such a diligent champion. I am absolutely dumbfounded by the depth of your research into this film.... Your appendix...is a definitive piece of scholarly detective work.... The Robert Aurthur revelation is another bombshell and only leaves me wanting to know more.... The book movingly captures the excitement and dynamic Cassavetes discovered in filmmaking; and the perseverance and struggle of getting it up there on the screen."—Tom Charity, Film Editor, Time Out magazine
John Cassavetes’ Shadows is generally regarded as the start of the independent feature movement in America. Made for $40,000 with a nonprofessional cast and crew and borrowed equipment, the film caused a sensation on its London release in 1960.
The film traces the lives of three siblings in an African-American family: Hugh, a struggling jazz singer, attempting to obtain a job and hold onto his dignity; Ben, a Beat drifter who goes from one fight and girlfriend to another; and Lelia, who has a brief love affair with a white boy who turns on her when he discovers her race. In a delicate, semi-comic drama of self-discovery, the main characters are forced to explore who they are and what really matters in their lives.
Shadows ends with the title card "The film you have just seen was an improvisation," and for decades was hailed as a masterpiece of spontaneity, but shortly before Cassavetes’ death, he confessed to Ray Carney something he had never before revealed – that much of the film was scripted. He told him that it was shot twice and that the scenes in the second version were written by him and Robert Alan Aurthur, a professional Hollywood screenwriter. For Carney, it was Cassavetes‘ Rosebud. He spent ten years tracking down the surviving members of the cast and crew, and piecing together the true story of the making of the film.
Carney takes the reader behind the scenes to follow every step in the making of the movie – chronicling the hopes and dreams, the struggles and frustrations, and the ultimate triumph of the collaboration that resulted in one of the seminal masterworks of American independent filmmaking.
Highlights of the presentation are more than 30 illustrations (including the only existing photographs of the dramatic workshop Cassavetes ran in the late fifties and of the stage on which much of Shadows was shot, and a still showing a scene from the "lost" first version of the film); and statements by many of the film's actors and crew members detailing previously unknown events during its creation.
One of the most interesting and original aspects of the book is a nine-page Appendix that "reconstructs" much of the lost first version of the film for the first time. The Appendix points out more than 100 previously unrecognized differences between the 1957 and 1959 shoots, all of which are identified in detail both by the scene and the time at which they occur in the current print of the movie (so that they may be easily located on videotape or DVD by anyone viewing the film).
By comparing the two versions, the Appendix allows the reader to eavesdrop on Cassavetes' process of revision and watch his mind at work as he re-thought, re-shot, re-edited his movie. None of this information, which Carney spent more than five years compiling, has ever appeared in print before (and, as the presentation reveals, the few studies that have attempted to deal with this issue prior to this are proved to have been completely mistaken in their assumptions). The comparison of the versions and the treatment of Cassavetes' revisionary process is definitive and final, for all time.
This book is available through University of California Press at Berkeley, Amazon, Barnes and Noble, and in England through Amazon (UK) and The British Film Institute. For a limited time, the Shadows book is also available directly from the author (in discounted, specially autographed editions) via this web site. See information below on how to order this book directly from the author by money order, check, or credit card (PayPal).
Clicking on the above links will open a new window in your browser. You may return to this page by closing that window or by clicking on the window for this page again.
For reviews and critical responses to Ray Carney's book on the making of Shadows, please click here.
Ray Carney, American Dreaming: The Films of John Cassavetes and the American Experience (Berkeley: University of California Press, 1985). $20.
[From the original dust jacket description:] John Cassavetes is known to millions of filmgoers as an actor who has appeared in Rosemary’s Baby, The Dirty Dozen, Whose Life Is It, Anyway?, Tempest, and many other Hollywood movies. But what is less known is that Cassavetes acts in these films chiefly in order to finance his own unique independent productions. Over the past 25 years, working almost entirely outside the Hollywood establishment, Cassavetes has written, directed, and produced ten extraordinary films. They range from romantic comedies like Shadows and Minnie and Moskowitz to powerful, poignant domestic dramas like Faces and A Woman Under the Influence to unclassifiable emotional extravaganzas like Husbands, The Killing of a Chinese Bookie, and Gloria.
This is the first book-length study ever devoted to this controversial and iconoclastic filmmaker. It is the argument of American Dreaming that Cassavetes has single-handedly produced the most stunningly original and important body of work in contemporary film. Raymond Carney examines Cassavetes’ life and work in detail, traces his break with Hollywood, and analyzes the cultural and bureaucratic forces that drove him to embark on his maverick career. Cassavetes work is considered in the context of other twentieth-century forms of traditional and avant-garde expression and is provocatively contrasted with the better-known work of other American and European filmmakers.
The portrait of John Cassavetes that emerges in these pages is of an inspiringly idealistic American dreamer attempting to beat the system and keep alive his dream of personal freedom and individual expression – just as the characters in the films excitingly try to keep alive their middle-class dreams of love, freedom, and self-expression in the hostile emotional and familial environments in which they function. His films are chronicles of the yearnings, desires, and frustrations of the American dream. He is America’s truest historian of the inevitable conflict between the ideals and the realities of the American experience.
"By far the most thorough, ambitious, and far-reaching criticism of Cassavetes' work has been accomplished by Raymond Carney, currently Professor of Film and American Studies at Boston University. Carney wrote the first book-length study of Cassavetes, who languished in critical obscurity until the publication of Carney's American Dreaming in 1985.... In Carney's view, to settle the accounts of our lives, to decide once and for all, is, for Cassavetes, to tumble headlong into the abyss of nonentity upon which we incessantly verge. Carney argues that Cassavetes has re-invented the craft of filmmaking in ways that drastically alter our casual habits of film viewing. To adapt William James' terminology (which Carney is indebted to) Cassavetes' works are concerned less with the events and finished episodes that make up the 'substantive' parts of our experience and more with the moments of insecurity, the 'transitive' slippages during which our habitual strategies for understanding and stabilizing our relationships with ourselves and others cease to function in any useful way.... Carney's work with Cassavetes, placed within the context of his later book, American Vision, on Frank Capra, can be viewed as an attempt not only to further the understanding of American film, but to forge a new synthesis of understanding in American Studies, making his critical works valuable not only to film scholars, but to students of American culture generally." — Lucio Benedetto, PostScript Magazine
American Dreaming: The Films of John Cassavetes and the American Experience (Berkeley, California: University of California Press, 1985), the first book ever written about Cassavetes' life and work, in any language. It has long been out of print but is now newly available through this web site for $20 in a Xerox of the original edition. You may order with a credit card through PayPal or through the mail with a money order. See below.
* * *
In addition, two packets of Ray Carney's writings on John Cassavetes (material not included in any of the above books) are also specially available through this web site. These packets contain the texts of many of his notes and essays about the filmmaker. Each packet is available for $15.00.
Collected Essays on the Life and Work of John Cassavetes (a packet of essays by Ray Carney previously published in magazines, newspapers, and periodicals and now unavailable). Approximately 130 pages.
A loose-leaf bound packet of Ray Carney's writings on John Cassavetes is specially available only through this web site. The packet has the complete texts of program notes and essays about Cassavetes that were published by Ray Carney in a variety of film journals and general interest periodicals between 1989 and the present. It contains more than fifteen separate pieces – including the keynote essay commissioned by the Sundance Film Festival for their retrospective of Cassavetes' work at the time of his death as well as the memorial piece on Cassavetes awarded a prize by The Kenyon Review as "one of the best essays of the year by a younger author."
This packet also contains the text Ray Carney contributed to the "Special John Cassavetes Issue" of PostScript edited by Ray Carney, including "A Polemical Introduction: The Road Not Taken," "Seven Program Notes from the American Tour of the Complete Films: Faces, Minnie and Moskowitz, Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams."
The Collected Essays on the Life and Work of John Cassavetes is not for sale in any store, and available exclusively on this web site for $15.00 under the same credit payment terms or at the same mailing address as the other offers.
***
"Special Issue: John Cassavetes." PostScript: Essays in Film and the Humanities Vol. 11 Number 2 (Winter 1992). Guest editor: Ray Carney $10.
Handsomely illustrated. 113 double-column pages (50,000 words).
A memorial tribute to the life and work of John Cassavetes. Essays by Ray Carney, George Kouvaros, Janice Zwierzynski, and Carole Zucker. Interviews with Al Ruban and Seymour Cassel by Maria Viera. A history of the critical appreciation of Cassavetes' work and a bibliography of writing in English by Lucio Benedetto. The issue is illustrated with more than 40 behind-the-scenes photos of Cassavetes and his actors and contains many personal statements by him about his life and work.
This issue includes eight essays by Ray Carney about Cassavetes' life and work: "A Polemical Introduction: The Road Not Taken," and "Seven Program Notes from the American Tour of the Complete Films, about Faces, Minnie and Moskowitz, Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams." But note that Ray Carney's contributions to the special Cassavetes issue of PostScript magazine are also available as part of the packet, The Collected Essays on the Life and Work of John Cassavetes, which contains many other pieces by Prof. Carney as well. The Collected Essays packet is listed separately above at a price of $15. But if you would like a Xerox copy of the entire PostScript magazine issue (which includes the other additional material by the other authors listed above), the PostScript issue is available separately for $10. You may order it with a credit card through PayPal or through the mail with a money order. See the instructions below.
***
In addition, a packet comparing the two versions of Shadows is available: A Detective Story – Going Inside the Heart and Mind of the Artist: A Study of Cassavetes' Revisionary Process in the Two Versions of Shadows. Available direct from the author through this site for $15.
This packet contains the following material (most of which was not included in the BFI Shadows book):
- An introductory essay about the two versions of the film
- A table noting the minute-by-minute, shot-by-shot differences in the two prints. (In the British Film Institute book on Shadows, this table appears in a highly abridged, edited version, at less than half the length and detail presented here.)
- A conjectural reconstruction of the shot sequence in the 1957 print
- A shot list for the 1959 re-shoot of the film
- The credits exactly as presented in the film (including typographical and orthographical vagaries indicating Cassavetes' view of the importance of various contributors)
- An expanded and corrected credit listing that includes previous uncredited actors and appearances (e.g. Cassavetes in a dancing sequence; Gena Rowlands in a chorus girl sequence; and Danny Simon and Gene Shepherd in the nightclub sequence)
- Notes about the running times of both versions and information about dates and places of early screenings
- A bibliography of suggested additional reading (including a note about serious mistakes in previous treatments of the film by other authors)
Very little of this material was included in the BFI book on Shadows due to limitations on space. This 85-page (25,000 word) packet is not for sale in any store and is available exclusively through this site for $15.
The five books, two packets,
and issue of PostScript magazine may be obtained directly from the author, by using the Pay
Pal Credit Card button below, or by sending a check or money order
to the address below. However you order the book or books, please provide
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