abrams publishing

The Flash and Supergirl to get middle-grade novels


The Flash and Supergirl will be saving the world some more this fall — only this time it will be in book form.

Both DC heroes will be the stars of their own individual middle-grade novels, EW can announce exclusively.

Supergirl: Age of Atlantis will be written by Jo Whittemore (The Silverskin Legacy) and will see Kara Danvers deal with various weird goings-on all over National City. Not only have average citizens suddenly start performing feats, but the Department of Extranormal Operations (the DEO) has captured a humanoid sea creature, and Kara will have to figure out what drew him to National City, and what his connection to this surge of super-citizens may be.

Artist César Moreno has created the covers for both books.

“We’re big fans of The Flash and Supergirl TV shows at ABRAMS,” Andrew Smith, senior vice president and publisher ABRAMS children’s books, said in a statement. “We’re thrilled to be working with Warner Bros., the shows’ production teams, and super-fan authors Barry Lyga and Jo Whittemore to introduce two epic new series featuring original adventures not seen on TV for the DC Super Heroes… These new stories expand upon the hit television shows in exciting new ways, and we can’t wait for fans and new readers to experience them!”

The Flash: Hocus Pocus will hit bookstores Oct. 3; Supergirl: Age of Atlantis will follow on Nov. 7.

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Periodically, the Parallel Julieverse likes to profile some of the many talented photographers who have worked with Julie over the years. One of the more fascinating, and possibly lesser known, was L. Arnold Weissberger (1907-1981). 

An entertainment lawyer who first rose to prominence as legal representative for Orson Welles – he drafted the actor’s much-ballyhooed 1940 contract with RKO (Chapman, G-3) – Weissberger was for many years the resident go-to attorney for the theatrical haut monde. “[O]ne definition of high and mighty,” claimed a newspaper report, “is to be a client of his” (Hunter, D3). Indeed, with a client list featuring everyone from Sir Laurence Olivier, Cecil Beaton and Lillian Gish to Garson Kanin, Billy Rose, Helen Hayes and Igor Stravinsky, Weissberger could have given MGM a run in the “more stars than there are in the heavens” stakes. 

A gentleman of the old school who always wore a suit jacket and trademark white carnation, Weissberger was as admired for his charm, grace and unerring discretion, as his legal nous. Quipped Orson Welles:

“Like the Rolls Royce, this lawyer is valued not only for the pleasing elegance of his appearance, but for performance, which can be formidable. A terror and a scourge to producers, he is a wonder to observe. Yet the loudest thing on Arnold is his Patek Philippe watch.” (Weissberger 1973, 337)

 Weissberger was also life partner to Milton Goldman, a successful theatre agent in his own right and vice-president of International Creative Management. Together the two men – equal bons vivants and talented socialites – formed a show biz power couple that presided over the trans-Atlantic theatre scene for decades. Their weekly Sunday cocktail parties were legendary and their swanky Sutton Place apartment “became the party place for theatre personalities from three continents” (Lawrence and Lee, 227). Each summer, the couple would relocate to Europe, spending a month in the River Suite at the London Savoy where they would host a whirlwind of social affairs with “every famous name you have ever wanted to meet” (Harris, 47).

It was in this context that Weissberger developed what he fondly called his “double life” as a celebrity photographer (Wise, B-1). A self-avowed “shutterbug” since youth, Weissberger never went anywhere without his trusty twin Leicas, “loaded at all times, one with outdoor, the other with indoor colour film” (Glover, 10-A). Though unabashedly amateur – he was entirely disinterested in the the technical dimensions of photography, “never uses flash, hates to be bothered with filters and won’t have a light meter around” (ibid.) – Weissberger honed his talents through a good eye and sheer voluminous slog. By the mid-70s, he estimated having shot 50,000 pictures of people and another 60,000 on travels (Anderson, 25).

It didn’t hurt, of course, that Weissberger had ready access to some of the most famous people in the world. How many photographers, marvelled one newspaper report, “run into Orson Welles, Marlene Dietrich, Noel Coward, Lord Snowden…Alice B. Toklas, Marianne Moore, W.H. Auden, Peter O’Toole, the Redgraves, Beatrice Lillie and Judy Holliday in their daily rounds?”  (Wise, B-1). The fact that he knew these celebrities personally and was, for the most part, photographing them in the context of private social events afforded a genuine intimacy and unguarded spontaneity unmatched in most other celebrity photography of the era. 

“His subjects are his clients and his clients are his friends,” noted Orson Welles, “We all smile in front of his camera because Arnold is behind it” (Weissberger, 1973, 337-338). In a similar refrain, Douglas Fairbanks Jr remarked that Weissberger “is a gregarious host with a catholic taste in friends” all of whom “have long since learned to repose their collective confidence in [his] gentler disposition and infinite discretion” (ibid, 183).  

For the most part, Weissberger took his photos for the simple fun of it and as personal mementoes. He was known among intimates for compiling the shots as “gifts for friends, to be presented in elegant gold-tooled, white-bound albums on Christmas or birthdays” (Weissberger, 1973, 282). As Weissberger’s archive of celebrity photography grew, however, so did its fame and in the late-1960s he was invited to hold several exhibitions of his work, including a major showing at the Museum of the City of New York (Weissberger, 1967). 

The highpoint of public recognition was undoubtedly the 1973 publication of Famous Faces, a lavish 450-page coffee table book from prestigious art publisher, Harry Abrams, that featured almost 1500 of Weissberger’s portraits taken over a 25 year span from 1946-1971. The literal heft of the tome was such that, when Weissberger gifted a copy to longtime friend, Hermione Gingold, she quipped, “Thanks but this isn’t for my coffee table. From now on, this is my coffee table!” (Lyons, 13).

Famous Faces is an astonishing catalogue of mid-century Anglo-American celebrity culture and a dynamic visual immersion in a long vanished world. “[A]s succinct as Boswell’s Diaries and [with] an even larger cast of characters,” notes Anita Loos in one of several appreciative celebrity “comments” peppered through the tome, “This is more than history; it is poetry and it is art” (Weissberger, 1973, 283-84). 

Certainly, these charmingly candid shots of our Julie, which are drawn from Weissberger’s gallery of greats, possess a decided poetic allure. Disarmingly simple, they arrest with their potent combination of playful ordinariness and historical import. The shot of Julie glimpsed in the background between Flora Robson and Judith Anderson is especially entrancing. Taken in 1960 when Julie had not long wrapped her long star-making turn in My Fair Lady and was about to embark on Camelot, it captures a spontaneous moment of apparent banality  – “three women at a party” – and, through serendipitous framing, lighting and, even, costume (the contrast of matronly black and virginal white), imbues the scene with a symbolic cast that borders on the epic. A triangulated drama of looks as the once and future queen of musical theatre apprehends her own - as yet only glimpsed – grande dame destiny. 

Weissberger had ambitions to develop a second volume of photographs and was also working on an autobiographical memoir to be titled “Double Exposure” when he died suddenly of an embolism in 1981 at age 74. His partner, Milton Goldman organised a special memorial at the Royale Theatre on W. 45th – where incidentally Julie made her bow in The Boy Friend which, by all accounts, played to an adoringly packed-house. “The outpouring of affection was so enormous,” reported famed Broadway correspondent, Earl Wilson (1981), “that VIPs sat in the balcony or stood” (15B) as from the stage a series of heartfelt reminiscences were delivered by, among others, Orson Welles, Ruth Gordon, Garson Kanin, Martha Graham, Louise Rainer, Douglas Fairbanks Jr, Meryl Streep, Beverly Sills, and Lillian Gish. 

It was a fittingly star-studded close to an extraordinary life for this man who remained enthralled by celebrity culture both professionally as entertainment lawyer and artistically as “the Proust of American photographers” and “the chronicler of the headliners” (Wise, B-1).

Sources

Anderson, George.”A Man of 1,500 Faces, None of Them His.” The Pittsburgh Post-Gazette. 15 March 1974: 25.

Chapman, John. “Orson Welles, the Movies’ New Mr. Moneybags.” The Chicago Tribune, 13 October 1940: G-3.

Glover, William. “Fastest Shooting Lawyer Shoots Uses Camera in Hobby.” The Daily Times News. 6 March 1968: 10-A.

Harris, Radie. Radie’s World. New York: Putnam and Sons, 1975.

Hunter, Stephen. “Christmas is A-Coming and the Books are Getting Fat.” The Baltimore Sun. 6 December 1973: D3.

Lawrence, Jerome and Lee, Rober E. “Inward Bound.” William Inge: Essays and Reminiscences on the Plays and the Man. Eds. Jackson R. Bryer and Mary C. Hartig. Jefferson, NC: McFarland and Co, 2014.

Lyons, Leonard. “Lyons Den.” The Times. 7 January 1974: 13.

Weissberger, L. Arnold. Close-Up: A Collection of Photographs. New York: Arno Press, 1967.

____________.   Famous Faces: A Photograph Album of Personal Reminiscences. New York: Harry N. Abrams, 1973.

Wilson, Earl. “They Faced the Critics…” Fort Lauderdale News. 12 March 1981: 15B.

Wise, Gabrielle. “'Faces’ Author Likes Unusual Mixes of His People.” The Baltimore Sun. 15 March 1974: B-1.

© 2017, Brett Farmer. All Rights Reserved.

Supergirl: Age of Atlantis will be written by Jo Whittemore (The Silverskin Legacy) and will see Kara Danvers deal with various weird goings-on all over National City. Not only have average citizens suddenly start performing feats, but the Department of Extranormal Operations (the DEO) has captured a humanoid sea creature, and Kara will have to figure out what drew him to National City, and what his connection to this surge of super-citizens may be.

Artist César Moreno has created the covers for both books, which you can get an exclusive look at below. “We’re big fans of The Flash and Supergirl TV shows at ABRAMS,” Andrew Smith, senior vice president and publisher ABRAMS children’s books, said in a statement. “We’re thrilled to be working with Warner Bros., the shows’ production teams, and super-fan authors Barry Lyga and Jo Whittemore to introduce two epic new series featuring original adventures not seen on TV for the DC Super Heroes… These new stories expand upon the hit television shows in exciting new ways, and we can’t wait for fans and new readers to experience them!” The Flash and Supergirl aren’t the only two DC heroes who have their own books. Lois Lane returned for her third young adult outing this spring in Lois Lane: Triple Threat and Wonder Woman will be the star of her own YA adventure in Wonder Woman: Warbringer this summer.

The Flash: Hocus Pocus will hit bookstores Oct. 3; Supergirl: Age of Atlantis will follow on Nov. 7.
@EW

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Cecil Beaton’s Decades of Portraiture

Cecil Beaton was a great chronicler of society and celebrity not only because of his devotion to the social scenes he inhabited but because of his passion for his individual subjects and his commitment to capturing their charisma on film. 

See more photographs on newyorker.com, and find the new survey of Cecil Beaton’s career, “Beaton: Photographs,” published by Abrams on September 8.

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Adventure Time - The Enchiridion & Marcy’s Super Secret Scrapbook!

Publisher: Abrams – Amulet Books
(W) Martin Olson, Olivia Olson (A) Renee French, Tony Millionaire

Dive deeper into the secrets of the Land of Ooo with this mysterious mash-up of The Enchiridion (the ancient hero’s handbook, as featured on the series) with Marceline’s private scrapbook. All-new, gorgeous, hilarious, and grotesque illustration? Ancient wizard lore, spells, curses, and jokes? Scribbles from and souvenirs of a cute girl demon growing up? Annotations by Finn, Jake, Marceline, and Simion Petrikov (the Ice King)? Check, check, check, check please! From the same creative team behind the bestselling Adventure Time Encyclopedia, this in-world compendium of all things Oooian is a humor-, paradox-, and literary contrivance-filled tome true to the imagination, innovation, and heart of Adventure Time!

(Release date: 6th October 2015)

youtube

Produced by the Goal Achievement Club, the book trailer for Chris McDonnell’s The Art of Ooo, published by Abrams Books, is up on the YouTube. Enjoy the video, then consider giving the book(s) to your nearest and dearest this holiday season.

37 Things Cut From Star Wars: The Force Awakens

1. The version of Rey in Michael Arndt’s early scripts was called Kira, and she was described as a “loner, hothead, gear-head badass.”

2. Unlike Rey, who is extremely reluctant to leave Jakku, Kira was eager to leave the planet, and a scene was written in which she fantasizes about leaving while watching spaceships arriving and departing from the planet.

3. The version of Finn in Arndt’s version was named Sam, and all early art depicted him as a white man. Sam was described in Arndt’s scripts as “pure charisma.”

4. The earliest version of Poe Dameron was tentatively referred to as John Doe, and production art depicted him as a black man. The character’s role in the film varied a lot — he was briefly considered as a Jedi, and then as a bounty hunter, before they landed on making him a pilot for the Resistance.

5. When Poe was written as a bounty hunter, he had his own Wookiee sidekick.

6. Poe Dameron was originally going to die in the crash landing on Jakku, but J.J. Abrams decided to write the character into the second half of the movie.

Keep reading

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Pantone Color Puzzles was a collaboration between publisher Abrams, Pantone and illustrator Tad Carpenter. In Pantone Color Puzzle,children learn to match shades of each of the six basic colors in a self-correcting format. Each page includes a full color illustration and has four removable puzzle pieces that fit into the four associated quadrants, arranged by shade. This puzzle book enables young children to further their color familiarity in a uniquely engaging way.

I am SO excited to officially announce that the Daily Dishonesty book is coming out in Fall 2014!

“Daily Dishonesty pays homage to the little lies we tell ourselves just to make it through the day. Based on author Lauren Hom’s work from the blog of the same title, the book features a colorful collection of 150+ funny & beautifully illustrated lies. Covering topics such as diets, breakups, friendship, growing up, slacking off, guilty pleasures, and more, these hand-lettered, sassy mantras are both relatable and tongue-in-cheek. Daily Dishonesty is a stylish and chic feel-good gift book that reveals, plays with, and makes light of life’s little quirks.”

As always, thank you for all the love, laughs, and support over the past year. This blog and book wouldn’t have been possible without my lovely friends (aka my muses), family, and followers. My parents taught me that I should always tell the truth, but I guess I found a way to prove them wrong. They also told me that I have to put on pants every day…

Keep an eye out for this little blue book in stores later in the year!

x Lauren

huffingtonpost.com
The Little Lies You Tell Yourself Every Day, Gorgeously Illustrated (NEW BOOK)

“I’ll get up early and go to the gym tomorrow.” “I’ll just have one cookie.” “Tonight I’m going to finish reading Infinite Jest instead of Netflixing ‘30 Rock’ again.” Sure you will! B…

Yay! Daily Dishonesty on The Huffington Post this morning!