Books by Jeremy Mark Robinson

THE ART OF MASAMUNE SHIROWVOLUME 3: EROTICAby Jeremy Mark RobinsonThis is a study of the erotic art of Masamune Shirow (real name Masanori Ota, b. 1961, Kobe, Japan), a Japanese artist best known for the comics and animations Ghost In the Shell, Appleseed and Dominion: Tank Police. Shirow-sensei is one of the great artists in the world of Japanese manga and animé - his works have provided the basis of several important franchises. Masamune Shirow's art is marked by futuristic, cyber-punk settings, fabulous, often eccentric designs, elaborate mecha (such as tanks and mobile suits), voluptuous warrior women and detailed storytelling (accompanied by his famous notes). This is one of the first studies of the erotic art of Masamune Shirow in the West. Eroticism has always been a part of Masamune Shirow's art, from his earliest works. Shirow has produced a significant amount of erotic art since the 1990s in the form of single images (his pin-ups), collections of images with a theme (his calendars and posterbooks), and groups of images with a simple plot (his erotica, published in colour books such as Gallhound, Pieces, Galgrease, Greaseberries, Wild Wet Quest, Wild West Quest, W Tails Cat and Hellhound). The Art of Masamune Shirow: Volume 3: Erotica includes a biography; chapters on Shirow and the Japanese manga industry; Shirow's signature works in erotic art (such as his posterbooks and pin-ups); on the Intron Depot series; on the sexual content found in his well-known works (such as Appleseed and Ghost In the Shell); and on his other manga. Each of Masamune Shirow's erotic publications are studied in this book, including Hellcat (pirates), Hellhound (horror/ fantasy), Galhound (sci-¿), Wild Wet West (cowgirls), Wild Wet Quest (action-adventure), and the Greaseberries series and the W Tails Cat series (sci-fi teams). Fully illustrated (over 300 illustrations), including many images from Masamune Shirow's whole output. There is also a censored version of the book's text. The Art of Masamune Shirow is published in three volumes: Volume 1: MangaVolume 2: AniméVolume 3: EroticaOver 18's only. Hardcover - full colour laminate cover. Bibliography, resources and notes. 544 pages.www.crmoon.com

SAMUEL BECKETT GOES INTO THE SILENCE By Jeremy Robinson A general introduction to the work of Samuel Beckett (1906-1989), focussing on the aspects of philosophy and language. He is regarded as pretty much the greatest of modern and postmodern writers, pretty much the world's greatest modern dramatist, and the maybe greatest modern prose stylist. The texts studied include Beckett's major works, from the Unnamable Trilogy to the late Company/ Nohow series of the 1980s. This book is a new, updated edition of a study first published in 1992. Includes a collection of quotes from Samuel Beckett, photographs of Beckett and his plays, and a bibliography. www.crmoon.com

TOMMY: KEN RUSSELL: THE WHO: POCKET MOVIE GUIDEBy Jeremy Mark Robinson. Tommy is a 1975 movie based on the rock opera by the British pop band Who and directed by British genius Ken Russell. Shamelessly over-the-top, silly, wild, dynamic, primitive, glitzy and violent, Tommy ain't subtle: it presents pop psychology which's crude as a sledgehammer, symbolism which's heavy-handed like a pinball machine hurled out of a hotel onto Sunset Strip; it's decked out in Pop Art colours and costumes by way of glam rock; it's proudly and bizarrely English and parochial and provincial; it's perverse and kinky; it's shrill and hysterical; and it contains some of the finest music every included in a musical movie. If Richard Wagner was making movies out of his music in the 1970s, this is what it would look like. Tommy would have to rank in the top three of anyone's Ken Russell films. It's one of those movies where every element comes together beautifully, and where everyone in the production seems to be working at their best. Tommy's not perfect, but you wouldn't want to change anything. This book features lengthy chapters on every aspect of director Ken Russell. A filmmaker like no other, Russell remains one of cinema's extraordinary talents, a creator of masterpieces such as The Devils, Tommy and The Music Lovers, and a body of work that flies from the pastoral, Romantic lyricism of Delius: Song of Summer and Elgar to the wild extremes of Lisztomania, Altered States and Mahler. Plus chapters on the Who; appendices on Quadrophenia; filmographies and discographies; and bibliography; quotes by Russell, resources, video and DVD availability, and fans on Tommy. Fully illustrated, including images of the Who, musicals of Tommy, and inspirations. Bibliography and notes. ISBN 9781861715050. 312 pages.www.crmoon.comJEREMY MARK ROBINSON has written many critical studies, including Hayao Miyazaki, Arthur Rimbaud, Jean-Luc Godard, and The Sacred Cinema of Andrei Tarkovsky, plus literary monographs on: J.R.R. Tolkien; Samuel Beckett; Thomas Hardy; André Gide; Robert Graves; and Lawrence Durrell.

PERFORMANCE: DONALD CAMMELL: NIC ROEG: POCKET MOVIE GUIDEby Jeremy Mark Robinson This book explores Performance, a classic movie co-directed by Donald Cammell and Nic Roeg and starring Mick Jagger, James Fox and Anita Pallenberg, released in 1970. Among the supporting cast were Michele Breton, Ann Sidney, Johnny Shannon and Anthony Valentine. 'A perverted love affair between Homo Sapiens and Lady Violence', was how Jagger and Cammell described Performance in their telegram to the president of Warners, Ted Ashley. Performance was a tale of a British gangster on the run who goes to ground in the basement of a reclusive pop star's mansion in London's Powis Square, Notting Hill. Like 1966's Blow-Up (directed by Michelangelo Antonioni, written by Antonioni, Tonino Guerra and Edward Bond), Performance has become a classic portrayal of late 1960s (British) pop culture, and of the London scene. The book includes chapters on the culture, gangster and pop music worlds of Performance, on directors Nic Roeg and Donald Cammell, on Mick Jagger, and on links to the movie, such as Kenneth Anger and Aleister Crowley. Although Donald Cammell's credits consist of a very few titles as a film director - Performance (1970), Demon Seed (1977), White of the Eye (1987) and Wild Side (1995) - he remains one of the most fascinating of British filmmakers. Appendices include films linked to Performance, such as Sympathy For the Devil, Fitzcarraldo, The Man Who Fell To Earth and Stoned. Fans and critics on Performance. Fully illustrated (including images from the movie, from Cammell's and Roeg's films, from the Rolling Stones, and from the 1960s period of Performance). Bibliography, filmographies and notes. ISBN 9781861715012. 292 pages.www.crmoon.comJEREMY MARK ROBINSON has written many critical studies, including Hayao Miyazaki, Arthur Rimbaud, Jean-Luc Godard, and The Sacred Cinema of Andrei Tarkovsky, plus literary monographs on: J.R.R. Tolkien; Samuel Beckett; Thomas Hardy; André Gide; Robert Graves; and Lawrence Durrell.

BLADE RUNNER: POCKET MOVIE GUIDE This book is a guide to the 1982 movie made from Do Androids Dream of Electric Sheep? by Philip K. Dick - Blade Runner. A thorough exploration of Blade Runner forms the core of the book, looking at the conception, production, themes, critical reception and influence of the 1982 Warner Brothers movie in every detail. Philip Kindred Dick (1928-1982) was a key figure in 20th century science fiction, famous for embracing drugs and the counter-culture in his work. Dick's fiction includes The Man In the High Castle, Flow My Tears, The Policeman Said, A Scanner Darkly, The Three Stigmata of Palmer Eldritch, Do Androids Dream of Electric Sheep?, Valis, The Divine Invasion, Martian Time-Slip, The Minority Report, and We Can Remember It For You Wholesale. Dick's themes included perception and reality, drugs, state control, global capitalism, surveillance, and paranoia. On its initial release, Blade Runner grossed $27 million in the United States, placing it no. 16 in that year's box office chart (it was released on June 25, 1982, in 1,290 theatres in the U.S.A.). 1982 was the year, of course, of E.T. The films that came in way behind Steven Spielberg's Universal fantasy were Tootsie at no. 2, An Officer and a Gentleman third, and Rocky 3 in fourth place. Other sci-fi and fantasy flicks in 1982 included Star Trek 2, Conan the Barbarian, Mad Max 2 and The Thing. Blade Runner is often trotted out as another big, important picture that flopped on its theatrical release. That isn't quite true, but it certainly wasn't a hit movie by any standards. The opening weekend was pretty good, but the movie seemed to fade away rapidly after that. Many reviewers and critics came out against Blade Runner on its first release, including Roger Ebert, Pauline Kael, Sheila Benson, and Janet Maslin. 'Muddled', 'gruesome', 'pretentious' and 'overheated' were some of the words used to describe it. Since then, Blade Runner has rightly achieved cult as well as classic status. Its influence on science fiction and sci-fi cinema has been enormous (this book looks at some of the movies inspired by Blade Runner, including Ghost In the Shell, Akira, Brazil and Batman). Fully illustrated. Pocket size. Bibliography, filmography and notes. ISBN 971861714251. www.crmoon.com

THE LORD OF THE RINGS: THE RETURN OF THE KING: POCKET MOVIE GUIDE A pocket guide to the Hollywood adaption of the third part of J.R.R. Tolkien's 1950s fantasy epic book The Lord of the Rings, released in 2003. The book tells you everything you need to know about this popular movie, from writing the script through casting and financing, to shooting and performances, to visual effects, editing and theatrical distribution. The pocket guide includes discussions of every single scene in The Lord of the Rings: The Return of the King, including the Special Extended Edition (including some key individual shots). There are sections on the all of the important differences between The Lord of the Ring book and the movie adaption of The Return of the King (including numerous details), as well a chapter exploring the additions and the omissions. Looks at behind the scenes stories, and also the critical response to the 2003 picture. There are chapters on the visual effects, on the casting and key personnel of The Lord of the Rings: The Return of the King, on the studio and the financing of the production, on the music and sound, and the marketing and release of the movie in 2003 (including the home entertainment releases on DVD and video). There is also a chapter on the critical assessment of the movie. There is also an appendix on other adaptions of J.R.R. Tolkien's books, a detailed filmography, plus info on availability and websites. Jeremy Robinson has written many critical studies, including Steven Spielberg, Arthur Rimbaud, Jean-Luc Godard, Hayao Miyazaki, Ken Russell, Walerian Borowczyk, and The Sacred Cinema of Andrei Tarkovsky, plus literary monographs on: J.R.R. Tolkien; J.M.W. Turner; Samuel Beckett; Thomas Hardy; Arthur Rimbaud; André Gide; John Cowper Powys; Robert Graves; and Lawrence Durrell. Includes bibliography, illustrations, appendices and notes. ISBN 9781861713827. 300 pages. www.crmoon.com

THE LORD OF THE RINGS: THE TWO TOWERS: POCKET MOVIE GUIDE A pocket guide to the Hollywood adaption of the second part of J.R.R. Tolkien's 1950s fantasy epic book The Lord of the Rings, released in 2002. The book tells you everything you need to know about this popular movie, from writing the script through casting and financing, to shooting and performances, to visual effects, editing and theatrical distribution. The pocket guide includes discussions of every single scene in The Two Towers, including the Special Extended Edition (including some key individual shots). There are sections on the all of the important differences between The Lord of the Ring book and the movie adaption of The Two Towers (including numerous details), as well a chapter exploring the additions and the omissions. Looks at behind the scenes stories, and also the critical response to the 2002 picture. There are chapters on the visual effects, on the casting and key personnel of The Two Towers, on the studio and the financing of the production, on the music and sound, and the marketing and release of the movie in 2002 (including the home entertainment releases on DVD and video). There is also a chapter on the critical assessment of the movie. There is also an appendix on other adaptions of J.R.R. Tolkien's books, a detailed filmography, plus info on availability and websites. Jeremy Robinson has written many critical studies, including Steven Spielberg, Arthur Rimbaud, Jean-Luc Godard, Hayao Miyazaki, Ken Russell, Walerian Borowczyk, and The Sacred Cinema of Andrei Tarkovsky, plus literary monographs on: J.R.R. Tolkien; J.M.W. Turner; Samuel Beckett; Thomas Hardy; Arthur Rimbaud; André Gide; John Cowper Powys; Robert Graves; and Lawrence Durrell. Includes bibliography, illustrations, appendices and notes. ISBN 9781861713810. 292 pages. www.crmoon.com

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING: POCKET MOVIE GUIDE A pocket guide to the Hollywood adaption of the first part of J.R.R. Tolkien's 1950s fantasy epic The Lord of the Rings, released in 2001. The book tells you everything you need to know about this popular film, from writing the script through casting and financing, to shooting and performances, to visual effects, editing and theatrical distribution. The pocket guide includes discussions of every single scene in The Fellowship of the Ring, including the Special Extended Edition (including some key individual shots). There are sections on the all of the important differences between The Lord of the Ring book and the movie adaption of The Fellowship of the Ring (including numerous details), as well a chapter exploring the additions and the omissions. Looks at behind the scenes stories, and also the critical response to the 2001 picture. There are chapters on the visual effects, on the casting and key personnel of The Fellowship of the Ring, on the studio and the financing of the production, on the music and sound, and the marketing and release of the movie in 2001 (including the home entertainment releases on DVD and video). There is also a chapter on the critical response to the movie. There is also an appendix on other adaptions of J.R.R. Tolkien's books, a detailed filmography, plus info on availability and websites. Jeremy Robinson has written many critical studies, including Steven Spielberg, Arthur Rimbaud, Jean-Luc Godard, Hayao Miyazaki, Ken Russell, Walerian Borowczyk, and The Sacred Cinema of Andrei Tarkovsky, plus literary monographs on: J.R.R. Tolkien; J.M.W. Turner; Samuel Beckett; Thomas Hardy; Arthur Rimbaud; André Gide; John Cowper Powys; Robert Graves; and Lawrence Durrell. Includes bibliography, illustrations, appendices and notes. ISBN 9781861713803. 292 pages. www.crmoon.com

PETER REDGROVE: HERE COMES THE FLOOD A Study of His Poetry by Jeremy Mark Robinson Poems of honey, wasps and bees; orchards and apples; rivers, seas and tides; storms, rain, weather and clouds; waterworks; labyrinths; amazing perfumes; wet shirts and 'wonder-awakening dresses'; the Cornish landscape (Penzance, Perranporth, Falmouth, Boscastle, the Lizard and Scilly Isles); the sixth sense and 'extra-sensuous perception'; witchcraft; alchemical vessels and laboratories; yoga; menstruation; mines, minerals and stones; sand dunes; mud-baths; mythology; dreaming; vulvas; and lots of sex magic. This book looks at poetry (and prose) from every stage of Peter Redgrove's career, and every book. It includes pieces that have only appeared in small presses and magazines, and in uncollected form. This new edition has been rewritten completely and includes a new introduction and bibliography. Illustrated. British Poets Series. EXTRACT FROM CHAPTER ONE, ON POETRY AND LIFE ...this 'strangeness' is 'strange' because reality is so fucking extraordinary, and strange too because most of us try to live without strangeness, and construct something called the 'ordinary' which never existed. Actually, the strangeness is so ordinary as to be quite natural. The strangeness is wonder and what is wondered at is so wonderful that it is strange we do not wonder more. Peter Redgrove, letter to the author (March 5, 1993) Peter Redgrove's poetic code is to create poems which describe or actualize this strangeness of living. The strangeness is here, all around us, he says, but we become immune to it. The poet's task is therefore to refresh body and soul, so that the incredible beauty and strangeness of life is once again experienced. The emphasis is on direct experience, not on abstraction or distance. Redgrove hates the synthetic and artificial. Redgrove's poetic ethic is one of direct touches - the Blakean (and Coleridgean) direct contact stemming from the cleansing of the senses. Peter Redgrove wrote to Jeremy Robinson about this book: Your essay has an infectious enthusiasm, which I'm grateful for, and I especially like the places where you actually grapple with the language of my poems, which is like writing them again. It is a very good piece, which carries the reader with it... Your own approach is irreplaceable because it seems to me founded on your own individuality and personal experience of my poems - which is vastly gratifying... in the majority it is vastly stimulating and insightful. Always, I am grateful to you for your trouble, and your deep response to what I have written.

SEX-MAGIC-POETRY-CORNWALL: THE POEMS OF PETER REDGROVE A new study of the poems of one of Britain's best but underrated poets, Peter Redgrove (1932-2003). This book considers some of Redgrove's wildest and most passionate works, creating a 'flood' of poetry. Philip Hobsbaum called Redgrove 'the great poet of our time', while Angela Carter said: 'Redgrove's language can light up a page.' Redgrove ranks alongside Ted Hughes and Sylvia Plath. He is in every way a major poet. Jeremy Robinson's essay analyzes all of Redgrove's poetic work, including his use of sex magic, natural science, menstrual energy, psychology, myth, alchemy and feminism. This new edition has been completely rewritten. With a bibliography and resources. Illustrated. British Poets Series. Peter Redgrove wrote to Jeremy Robinson about this book: Sex-Magic-Poetry-Cornwall is a very rich essay... It is a very good piece... Your essay has an infectious enthusiasm, which I'm grateful for, and I especially like the places where you actually grapple with the language of my poems, which is like writing them again. It is a very good piece, which carries the reader with it... Your own approach is irreplaceable because it seems to me founded on your own individuality and personal experience of my poems - which is vastly gratifying... in the majority it is vastly stimulating and insightful. Always, I am grateful to you for your trouble, and your deep response to what I have written. I like very much the way you have resurrected poems I had forgotten worked, like the clothes magic-wet and the alchemical honeymoon - I thought they didn't work because nobody had put them in context before of the elemental life that nudges into them always - and I like the cragginess of the prose poems in contrast. Your choice of quotations is excellent throughout, and this is the real point - plus enthusiasm.. it is like a laser gas into which you pump your enthusiastic energy, there is a sudden shift of atomic orbits, and the texts shine with their own weird and natural light!

AMERICAN EROTICA A new collection of erotic short stories set in contemporary America, ranging from the humorous and romantic to the intensely sexual. American Erotica: Erotic Stories features creamy tales of total desire - of men with women, women with women, men with men, and plenty of groups too. Some of the stories are out-and-out fantasy and wildness - such as a day trip into the Californian countryside to find the clitoris in ¿A Complete Guide To the Clitoris, Including Map¿, and an alternative universe where men have gigantic cocks (in a story called - what else? - ¿Big Cocks¿). Some of the stories are domestic and everyday, about couples splitting up and getting back together and doing the wild thing. Husbands and wives, older women and young men, lesbians, gays - and of course ex-boyfriends and ex-girlfriends. Making love in swimming pools, in bathrooms, in tents, on trains, in cars, on vacation in Hawaii, in theaters and a Guns ¿N Roses concert in Philly - these people are getting freaky all over America. Illustrated with erotic nude photographs. EXTRACT FROM 'SUNSET STRIP' 'Hey,' she said and smiled. I'm instantly hyped up to the max, and as aroused as any man can possibly be. That body... those hot, hot eyes, eyes that could slice you up with lasers. 'Wanna walk?' We walked. I had a million questions I wanted to ask her, but you don't interrogate a Goddess. So we talked about the usual shit. About back home, and school, and music, and films, and fuck knows what else. So I put my arm around her, and she - get this - she puts her arm around me. West Hollywood suddenly turned day-glo pink with flights of angels and cherubs fluttering overhead and the sidewalk became marshmallow soft and the buildings were all white and fluffy and the cars turned into cascades of feathers and... She kissed me. She kissed me. Just like that. She kissed me. That hot mouth... a soft, soft tongue... wet lips... playful kisses, like water lapping at the edge of a clear, cool pool in a forest glade with a silver unicorn trotting by in dappled sunlight through golden oak trees... I glanced around. Strange, but we were still on Sunset Strip in West Hollywood, in the noisy, bright, crazy, ugly modern world. But when I moved down to brush my lips against hers, and closed my eyes, we were floating on yellow clouds in a turquoise sky with bluebirds twittering around our heads and the sound of laughter and the tinkle of water and the warm breeze from the sea... Lovers, they say, can make a whole world. A whole world. So when Sarah kissed me, and I kissed Sarah, that happened: shock waves like from an atomic bomb spread outwards from us, engulfing L.A. in blastwaves of desire. Outwards into the Pacific Ocean, and up to 'Frisco, and down to Mexico, and across the desert thundered those shock waves of pure love.

JEAN-LUC GODARD There¿s no one else quite like Jean-Luc Godard. You could take a few frames from one of his films and know they were by the maestro and nobody else. Where the flood of movies globally now runs into many thousands, Godard¿s works stand out as original, acerbic, romantic, ironic, humorous and explorative. EXTRACT FROM CHAPTER 2: ¿GODARD BIOGRAPHY¿ With À Bout du Souffle, Godard produced one of the first, great French New Wave movies, starring Jean-Paul Belmondo and Jean Seberg, and written by, among others, François Truffaut. À Bout du Souffle, with its cool Parisian milieu, its filmic and film noir allusions, handheld camera, direct sound, startling editing and stylish, self-conscious performances from Belmondo and Seberg, established Godard as one of the major voices of postwar cinema, a reputation which Godard built on in subsequent early films such as Le Petit Soldat (1960), Une Femme Est Une Femme (1961), Vivre Sa Vie (1962), Le Mépris (1963), Bande à Part (1964), and Une Femme Mariée (1964). In these films of the early to mid-1960s, Godard established a radical, polemical series of films as film-essays which confronted issues such as late consumer capitalism, prostitution, labour, politics, ideology, gender, marriage, music, popular culture, Hollywood and not forgetting cinema itself. In the mid-1960s, Godard¿s films became increasingly political - the sci-fi film Alphaville (1965), Pierrot le Fou (1965), Made in U.S.A (1966), Masculine/ Féminin (1966), 2 ou 3 Choses Que Je Sais (1966) ¿ until, by 1967-68, the Marxist and Maoist influences permeated Godard¿s films: Weekend (1967), La Chinoise (1967), La Gai Savoir (1968), and One Plus One (Sympathy For the Devil, 1968). His concern was ¿not to make political films, but to make films politically¿ (my emphasis). In the 1970s, Godard moved into video and television territory, and worked with Anne-Marie Miéville on many projects: Ici Et Ailleurs (1974), Numéro Deux (1975), Comment Ça Va (1976), Six Fois Deux/ Sur Et Sous La Communication (1976), and France/ Tour/ Détour/ Deux/ Enfants (1977-78). In the late 1970s, Godard made a ¿return¿ to feature filmmaking, with the ¿sublime trilogy¿, Sauve Qui Peut (a.k.a. Every Man For Himself and Slow Motion, 1979), Passion (1982), and Prénom: Carmen (1983). Easily his most controversial film, Je Vous Salue Marie (Hail Mary), appeared in 1985; it was followed by Détective (1985), made to help finance the completion of Hail Mary, King Lear (1987), which starred Peter Sellars, Burgess Meredith, Molly Ringwald, Norman Mailer and Woody Allen, Nouvelle Vague (1990), Hélas Pour Moi (1993), For Ever Mozart (1997), Éloge de l¿Amour (In Praise of Love, 2000) and Notre Musique (2005). Fully illustrated. Bibliography and notes.