The Théâtre du Grand-Guignol in Paris (1897-1962) achieved a legendary reputation as the 'Theatre of Horror,' a venue displaying such explicit violence and blood-curdling terror that a resident doctor was employed to treat the numerous spectators who fainted each night. Indeed, the phrase 'grand guignol' has entered the language to describe any display of sensational horror.   Since the theatre closed its doors forty years ago, the genre has been overlooked by critics and theatre historians. This book reconsiders the importance and influence of the Grand-Guignol within its social, cultural and historical contexts, and is the first attempt at a major evaluation of the genre as performance. It gives full consideration to practical applications and to the challenges presented to the actor and director.   The book also includes oustanding new translations by the authors of ten Grand-Guignol plays, none of which have been previously available in English. The presentation of these plays in English for the first time is an implicit demand for a total reappraisal of the grand-guignol genre, not least for the unexpected inclusion of two very funny comedies.

When restaurateur Keith McNally and co-chefs Riad Nasr and Lee Hanson opened Balthazar in 1997, it immediately became one of the hottest restaurants in the country. Famous for its star-studded clientele, a beautiful room in the chic SoHo neighborhood, and superbly executed food, Balthazar has been embraced by New Yorkers and visitors alike for its perfect evocation of a French brasserie. 

The Balthazar Cookbook captures that energy, that style, and that cuisine, with recipes for the most-loved and most-accessible French dishes: seafood ranging from the ultra-simple Moules à la Marinière to more ambitious Bouillabaisse; chicken and game favorites that include Coq au Vin and Cassoulet; red-meat classics such as Braised Short Ribs and Blanquette de Veau; sides like the perfect French Fries or sublime Macaroni Gratin; and finales that include Crème Brûlée and Chocolate Pot de Crème. This is the best of French cooking, from one of the best-loved French restaurants in the country.

Because it doesn't provide a printf()function like C/C++, some developers think Java isn't up to snuff with files and streams. Author Rusty Harold Elliotte argues against this notion in Java I/O, a book that shows how Java's stream support can help simplify network programming, internationalization, and even compression and encryption.

The book opens with an overview of Java's stream capabilities. (The author defends Java's lack of support for console input/output (I/O) since today's applications use graphical user interfaces anyway.) He shows how to open, read, and write local files in Java applications. His file viewer example presents data in a variety of formats. (This example is improved several times until it winds up supporting different international character sets by the end of the book.)

Next the author covers network programming using URL and network streams, including sockets. Sections on filters show how classes can filter out characters within streams. The tour moves forward to cover data streams, which permit streaming of Java's primitive data types. Details on how to communicate within Java programs using pipes follow. In a notable chapter, the author thoroughly explicates Java's support for encryption, including hashing, the Data Encryption Standard (DES) algorithm, and ciphers.

The last portion of the book explains object serialization, which allows Java objects to save and restore their state, plus it includes sections on Java's support for data compression (and ZIP files) and multilingual Unicode character sets. (Java is prepared to handle virtually any of the world's languages with its reader and writer classes.) Finally, the author shows how you can format output in Java using its support for width and numeric precision APIs.

In all, Elliotte makes a good case that Java streams are a flexible and powerful part of the language, and certainly not a limitation. —Richard Dragan

Sam Harris cranks out blunt, hard-hitting chapters to make his case for why faith itself is the most dangerous element of modern life. And if the devil's in the details, then you'll find Satan waiting at the back of the book in the very substantial notes section where Harris saves his more esoteric discussions to avoid sidetracking the urgency of his message.

Interestingly, Harris is not just focused on debunking religious faith, though he makes his compelling arguments with verve and intellectual clarity. The End of Faithis also a bit of a philosophical Swiss Army knife. Once he has presented his arguments on why, in an age of Weapons of Mass Destruction, belief is now a hazard of great proportions, he focuses on proposing alternate approaches to the mysteries of life. Harris recognizes the truth of the human condition, that we fear death, and we often crave "something more" we cannot easily define, and which is not met by accumulating more material possessions. But by attempting to provide the cure for the ills it defines, the book bites off a bit more than it can comfortably chew in its modest page count (however the rich Bibliography provides more than enough background for an intrigued reader to follow up for months on any particular strand of the author' musings.)

Harris' heart is not as much in the latter chapters, though, but in presenting his main premise. Simply stated, any belief system that speaks with assurance about the hereafter has the potential to place far less value on the here and now. And thus the corollary — when death is simply a door translating us from one existence to another, it loses its sting and finality. Harris pointedly asks us to consider that those who do not fear death for themselves, and who also revere ancient scriptures instructing them to mete it out generously to others, may soon have these weapons in their own hands. If thoughts along the same line haunt you, this is your book.—Ed Dobeas

Horror lit's head chef Harris serves up another course in his Hannibal "The Cannibal" Lecter trilogy, and it's a pièce de résistance for those with strong stomachs. In the first book, Red Dragon(filmed as Manhunter), Hannibal diabolically helps the FBI track a fascinating serial killer. (Takes one to know one.) In The Silence of the Lambs, he advises fledgling FBI manhunter Clarice Starling, then makes a bloody, brilliant escape.

Years later, posing as scholarly Dr. Fell, curator of a grand family's palazzo, Hannibal lives the good life in Florence, playing lovely tunes by serial killer/composer Henry VIII and killing hardly anyone himself. Clarice is unluckier: in the novel's action-film-like opening scene, she survives an FBI shootout gone wrong, and her nemesis, Paul Krendler, makes her the fall guy. Clarice is suspended, so, unfortunately, the first cop who stumbles on Hannibal is an Italian named Pazzi, who takes after his ancestors, greedy betrayers depicted in Dante's Inferno.

Pazzi is on the take from a character as scary as Hannibal: Mason Verger. When Verger was a young man busted for raping children, his vast wealth saved him from jail. All he needed was psychotherapy—with Dr. Lecter. Thanks to the treatment, Verger is now on a respirator, paralyzed except for one crablike hand, watching his enormous, brutal moray eel swim figure eights and devour fish. His obsession is to feed Lecter to some other brutal pets.

What happens when the Italian cop gets alone with Hannibal? How does Clarice's reunion with Lecter go from macabre to worse? Suffice it to say that the plot is Harris's weirdest, but it still has his signature mastery of realistic detail. There are flaws: Hannibal's madness gets a motive, which is creepy but lessens his mystery. If you want an exact duplicate of The Silence of the Lambs's Clarice/Hannibal duel, you'll miss what's cool about this book—that Hannibal is actually upstaged at points by other monsters. And if you think it's all unprecedentedly horrible, you're right. But note that the horrors are described with exquisite taste. Harris's secret recipe for success is restraint. —Tim Appelo

From pictures of dressed-up dogs to Bond Girls, and extreme sports to extreme weather, Take Me to Your Leader is packed with information that is curious, compelling, intriguing, and indispensable. With its innovative visual take on trivia, pop culture, and strange-but-true tales, this is an exciting, original, and hilarious look at humans and the world they've created.

Ian Harrison is a part-time inventor and the author of numerous books on a variety of subjects ranging from ancient battlefields to modern inventions. His books have been translated into numerous languages, including Dutch, French, Norwegian, South Korean, Greek, Italian, Bulgarian, Afrikaans, and Estonian. The Book of Firsts, which was published in hardback in 2003, has sold over 100,000 copies and been translated into 14 languages.

Look Inside Take Me to Your Leader

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The American South is a geographical entity, a historical fact, a place in the imagination, and the homeland of an array of Americans who consider themselves southerners. The region is often shrouded in romance and myth, but its realities are as intriguing, as intricate, as its legends.

The Encyclopedia of Southern Cultureis "the first attempt ever" notes U.S. News & World Report, "to describe every aspect of a region's life and thought, the impact of its history and policies, its music and literature, its manners and myths, even the iced tea that washes down its catfish and cornbread."

There are many Souths, many southerners. The region's fundamental uniqueness, in fact, lies in its peculiar combination of cultural traits, a somewhat curious, often elusive blend created by blacks and whites who have lived together for more than 300 years. In telling their stories, the Encyclopedia of Southern Cultureranges from grand historical themes to the whimsical; from the arts and high culture (William Faulkner and Leontyne Price) to folk culture (quilts, banjos, and grits) to popular culture (Gilley's and Gone With the Wind).

The Encyclopedia's definition of the South is a cultural one: the South is found wherever southern culture is found. Although the focus is on the eleven states of the former Confederacy, this volume also encompasses southern outposts in midwestern and middle-Atlantic border states, even the southern pockets of Chicago, Detroit, and Bakersfield.

To foster a deeper understanding of the South's cultural patterns, the editors have organized this reference book around twenty-four thematic sections, including history, religion, folklore, language, art and architecture, recreation, politics, the mythic South, urbanization, literature, music, violence, law, and media. The life experiences of southerners are discussed in sections on black life, ethnic life, and women's life. Throughout, the broad goal is to identify the forces that have supported either the reality or the illusion of the southern way of life—people, places, ideas, institutions, events, symbols, rituals, and values.

The Encyclopedia of Southern Culturewas developed by the Center for the Study of Southern Culture at the University of Mississippi. Contributors to the volume include historians, literary critics, sociologists, anthropologists, geographers, linguists, theologians, folklorists, architects, ecologists, lawyers, university presidents, newspaper reporters, magazine writers, and novelists.