Candy Floss Collection is a set of three previously released, bestselling novels:
Film. Together these novels create an overarching message about what it truly means to live a “big life” and the kinds of relationships we need with others and ourselves along the way. This is not a trilogy. This collection can be understood as installation art. Written with humor, cultural insight, and a wink, we follow each female protagonist and cast of offbeat characters as they search for love, friendship, and a sense of self. The characters must learn to mind the gap between their lives as they are and as they wish them to be, to chase their dreams even as they stumble on their insecurities, and to never settle for low-fat love. Along the way, characters are imaged in the glow of television and movie screens, their own stories shaped and illuminated by the stories in pop culture. Set in contemporary New York and Los Angeles, with special tributes to 1980s pop culture, each book questions and celebrates the ever-changing cultural landscape against which we live our stories, frame by frame.
Candy Floss Collection can be read entirely for pleasure or used as supplemental reading in a variety of courses in women’s studies/gender studies, sociology, psychology, communication, popular culture, media studies, or qualitative inquiry. The book includes further engagement for class or book club use.
Film follows three women who moved to Los Angeles to pursue their dreams. Tash Daniels aspires to be a filmmaker. Her short film was rejected from festivals, she has a stack of rejected grant proposals, and she lost her internship at a studio when her boss harassed her, forcing her to take a job as a personal shopper. Lu K is a hot deejay slowly working her way up the club scene, but no one is doing her any favors. Fiercely independent, she’s at a loss when she meets Paisley, a woman who captures her heart. Monroe Preston is the glamorous wife of a Hollywood studio head. As a teenager she moved to LA in search of a “big” life, but now she wonders if reality measures up to fantasy. When a man in their circle finds sudden fame, each of these women is catapulted on a journey of self-discovery. As the characters’ stories unfold, each is forced to confront how her past has shaped her fears and to choose how she wants to live in the present.
Film is a novel about the underside of dreams, the struggle to find internal strength, the power of art, and what it truly means to live a “big” life. Frequently shown bathed in the glow of the silver screen, the characters in
Film show us how the arts can reignite the light within. With a tribute to popular culture, set against the backdrop of Tinseltown,
Film celebrates how the art we make and consume can shape our stories, scene by scene. Although fictional,
Film is loosely grounded in interview research. It can be read entirely for pleasure or used as supplemental reading in a variety of courses in women’s studies/gender studies, sociology, psychology, communication, popular culture, media studies, or qualitative inquiry.
Film can be read as a stand-alone novel or as a sequel to the bestselling novel,
There has never been a more crucial time for an intimate and thorough examination of the ways in which sexuality informs people’s lives. In
Living Sexuality: Stories of LGBTQ Relationships, Identities, and Desires, the authors use autoethnography and personal narrative to provide first-hand accounts of the connections between sexuality, particularly LGBTQ identities, and the everyday experiences of relationships. Each story also invites readers to understand how sexuality informs communication as it occurs within diverse cultural contexts. In addition, the stories often focus on taboo issues overlooked or ignored in mainstream research about sexuality. Discussion questions appear at the end of each story that should stimulate engagement by students, instructors, and researchers.
Expanding the Rainbow is the first comprehensive collection of research on the relationships of people who identify as bi+, poly, kinky, asexual, intersex, and/or trans that is written to be accessible to an undergraduate audience. The volume highlights a diverse range of identities, relationship structures, and understandings of bodies, sexualities, and interpersonal relationships. Contributions to the volume include original empirical research, personal narratives and reflections, and theoretical pieces that center the experiences of members of these communities, as well as teaching resources. Collectively, the chapters present a diverse, nuanced, and empirically rich picture of the variety of relationships and identities that individuals are creating in the twenty-first century.
Feminist Theory and Pop Culture (Second Edition) synthesizes feminist theory with modern portrayals of gender in media culture. This updated text provides comprehensive and interdisciplinary scholarship focused on topics related to:
– Historical examination of feminist theory.
– Application of feminist research methods.
– Feminist theoretical perspectives such as the male gaze, feminist standpoint theory, Black feminist thought, queer theory, masculinity theory, theories of feminist activism, and postfeminism.
– Contributor chapters cover a range of topics from Western perspectives on belly dance to television shows such as
Orange is the New Black.
– Feminist theory and the wave of feminism, including a discussion of the fourth wave.
– Pedagogical features.
– Suggestions for further reading and discussion questions for classroom use.
Feminist Theory and Pop Culture was designed for classroom use and has been written with an eye toward engaging students in discussion. The book’s polished perspective on feminist theory juxtaposes popular culture with theoretical perspectives which have served as a foundation for the study of gender. This interdisciplinary text can serve as a primary or supplemental reading.
Gender and Pop Culture provides a foundation for the study of gender, pop culture, and media. This newly updated edition is comprehensive and interdisciplinary, providing both text-book style introductory and concluding chapters written by the editor. The text includes eight original contributor chapters on key topics and written in a variety of writing styles, discussion questions, additional resources, and more. Coverage includes:
– Foundations for studying gender and pop culture (history, theory, methods, key concepts).
– Contributor chapters on social media, technology, advertising, music, television, film, and sports.
– Ideas for activism and putting this book to use beyond the classroom.
– Pedagogical features.
– Suggestions for further readings on topics covered and international studies of gender and pop culture.
Gender and Pop Culture was designed with students in mind, to promote reflection and lively discussion. With features found in both textbooks and anthologies, this sleek book can serve as a primary or supplemental reading in courses across disciplines.
The Daddies is a love letter to masculinity, a kaleidoscope of its pleasures and horrors. The question “Who’s your Daddy?” started showing up in mainstream cultural references during the 1990s. Those words can be spoken as a question, or a challenge, as a flirtation, a joke, or a threat. It’s all about inflection, intention, and who’s asking. Apparently, we have so much shared cultural meaning about “Daddy” the speakers and listeners can simply intuit meaning and proceed to laugh at the joke, or experience the shame, as appropriate. But who is Daddy in American culture? The Daddies aims to find out more than who – but how the process of knowing Daddy can prompt readers to know themselves and their society. This allegory about patriarchy unfolds as a kinky lesbian Daddy/girl love story. Daddy-ness is situated in all people, after all, and we each share responsibility for creating a fairer world.
The Daddies can be used as a springboard for discussion in courses in sociology, gender and women's studies, cultural studies, sexuality studies and communication. As a work of fiction,
The Daddies can also be enjoyed by general audiences.