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Drawing the Line
Some of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood’s marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especi...
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The Counterclaim
After trying in vain to sort out the details of his dream, Billy slept intermittently and poorly the rest of the night. Remorse had returned. If only he had the computer savvy of Rosey and the handyman traits of his father, he kept thinking, he could change his identity and start over in Arizona as a bricklayer or some such. Whether or not a pack of Marlboro Lights was in his desk drawer the next morning, one thing was clear. After covering his recent travel expenses, Billy would not take any more of the spoils from the insurance scam. What the Critics say about The Counterclaim "Pointless and uninspired an insult to Mensa members everywhere..." -Wilberforce Twigden, The Blue State Fiction Review "The Counterclaim is pure P. G. Wodehouse, minus the beautiful style, the great plot, and the humor " -Vernon Pliny, 21st Century Man of Letters "For unbridled humor, I still prefer Jimmy Carter's Keeping Faith. " -Jeffrey S. Dudgeon, Stiffington's Fiction Quarterly "Jethro Bodeen, move over!" -Lillian Pirbright-James, Lillian's Literary List
Only Victims
In a dramatic change of role, the noted television and film star has written a vivid and incisive account of the House Committee on Un-American Activities' probe of the entertainment industry from 1938 to 1958. Formed to investigate alleged subversives, by the late fifties the committee had succeeded in ruining the careers and sometimes the lives of many of Hollywood and Broadway's top writers and performers. Quoting generously from transcripts of its hearings, Vaughn shows how the committee's primary purpose was punitive rather than legislative, and concludes that its most serious damage to American theatre and film is not easily documented: the loss of all the words never written or spoken because of the impact - and the fear - of the committee's misdeeds.
