The kids in McKinley High School's glee club, New Directions, might not be the most popular, but Glee is unquestionably a runaway hit. Since its premiere in May 2009, Glee has exploded as one of the most popular hours on TV, earning an astounding 19 Emmy nominations in its first season. In addition to the show's staggering success, Glee's songs have been heating up the music charts, with 25 tracks on the 2009 hot 100 list, a hit-rate topped only by the Beatles when they had 31 hits in 1964.
Don't Stop Believin' pays tribute to the glorious mash-up of music, comedy, drama and social commentary that has put Glee and its band of misfits in the spotlight. Written by gleeks extraordinaire Erin Balser and Suzanne Gardner, the book is jam-packed with:
- an in-depth episode-by-episode exploration of the show, focusing on themes, storylines and main characters
- all the details on the hit songs in every episode, behind-the-scenes happenings and the show's entertainment and cultural references
- exclusive interviews with Glee actors including Stephen Tobolowsky (Sandy Ryerson), Heather Morris (Brittany), and Ken Avenido (Howard Bamboo)
- personal stories from fellow gleeks about what the show means to them
- biographies of the principal players and guest stars
- the story of the making of Glee and how it was brought to life by creator Ryan Murphy
- fun and informative sidebars
- terrific on- and off-set photos of the cast
Capturing all the highs and lows of this ground-breaking series, Don't Stop Believin' is a show-stopping guide to Glee's journey - the perfect companion for fans who demand an encore once the curtain falls.
Taking off from the Promethean myth of human creation, Gillian Sze's second poetry collection explores the "anatomy of clay" and the individual as a sentient mystery. At times reflective, instructional, playful, or strange, the first section, Quotidianus, offers observational poems, which recount intimate and ordinary moments often missed, overlooked, or forgotten. Sze tugs at the fabric of habit and amidst the urban mundane finds her subjects in a woman waiting for the bus, a neighbour who talks to his plants, a girl smoking after a storm. The following section, Extimacy, takes a lyrical and confessional turn, veering inwards, dealing reflexively with the materiality of inner life: the self as ingredients, the self as experiment, the self as animal and artist. The Anatomy of Clay finds exceptions in the most prosaic conditions and the ineffable distinctions between people, selves, objects, and histories.