List price
EUR €115.00USD $139.00
Browse results
Who am I? Where did I come from? What is a family? How do families of choice develop?
These questions permeate the pages of Scarecrow wherein a bisexual, nonbinary trans feminine person named Erin seeks to make sense of her life in relation to the places, people, and events she has seen and left behind over time. As the novel begins, Erin tells us that “39 funerals, 35 years, and too many lovers to bother remembering brought me to this point.” From this opening statement, Erin reflects on three-and-a-half decades of experiences growing up working class, white, and queer in the southeastern U.S.; navigating sexual, gender, classed, racial, and religious meanings and relationships; surviving varied types of love, trauma, kindness, and violence; and joining the upper-middle class world of the professoriate. As the novel progresses, she shows us how these experiences intertwine, create opportunities, and leave scars that together fashion who she has become over time and in relation to others.
Scarecrow could be utilized in the teaching of sociology, social psychology, Symbolic Interactionism, narrative, families, gender, sexualities, race, class, geography, biography, Southern Studies, LGBTQIA studies, trauma recovery, courses about aging and the life course, or of course, it could be read entirely for pleasure.
These questions permeate the pages of Scarecrow wherein a bisexual, nonbinary trans feminine person named Erin seeks to make sense of her life in relation to the places, people, and events she has seen and left behind over time. As the novel begins, Erin tells us that “39 funerals, 35 years, and too many lovers to bother remembering brought me to this point.” From this opening statement, Erin reflects on three-and-a-half decades of experiences growing up working class, white, and queer in the southeastern U.S.; navigating sexual, gender, classed, racial, and religious meanings and relationships; surviving varied types of love, trauma, kindness, and violence; and joining the upper-middle class world of the professoriate. As the novel progresses, she shows us how these experiences intertwine, create opportunities, and leave scars that together fashion who she has become over time and in relation to others.
Scarecrow could be utilized in the teaching of sociology, social psychology, Symbolic Interactionism, narrative, families, gender, sexualities, race, class, geography, biography, Southern Studies, LGBTQIA studies, trauma recovery, courses about aging and the life course, or of course, it could be read entirely for pleasure.
Who am I? Where did I come from? What is a family? How do families of choice develop?
These questions permeate the pages of Scarecrow wherein a bisexual, nonbinary trans feminine person named Erin seeks to make sense of her life in relation to the places, people, and events she has seen and left behind over time. As the novel begins, Erin tells us that “39 funerals, 35 years, and too many lovers to bother remembering brought me to this point.” From this opening statement, Erin reflects on three-and-a-half decades of experiences growing up working class, white, and queer in the southeastern U.S.; navigating sexual, gender, classed, racial, and religious meanings and relationships; surviving varied types of love, trauma, kindness, and violence; and joining the upper-middle class world of the professoriate. As the novel progresses, she shows us how these experiences intertwine, create opportunities, and leave scars that together fashion who she has become over time and in relation to others.
Scarecrow could be utilized in the teaching of sociology, social psychology, Symbolic Interactionism, narrative, families, gender, sexualities, race, class, geography, biography, Southern Studies, LGBTQIA studies, trauma recovery, courses about aging and the life course, or of course, it could be read entirely for pleasure.
These questions permeate the pages of Scarecrow wherein a bisexual, nonbinary trans feminine person named Erin seeks to make sense of her life in relation to the places, people, and events she has seen and left behind over time. As the novel begins, Erin tells us that “39 funerals, 35 years, and too many lovers to bother remembering brought me to this point.” From this opening statement, Erin reflects on three-and-a-half decades of experiences growing up working class, white, and queer in the southeastern U.S.; navigating sexual, gender, classed, racial, and religious meanings and relationships; surviving varied types of love, trauma, kindness, and violence; and joining the upper-middle class world of the professoriate. As the novel progresses, she shows us how these experiences intertwine, create opportunities, and leave scars that together fashion who she has become over time and in relation to others.
Scarecrow could be utilized in the teaching of sociology, social psychology, Symbolic Interactionism, narrative, families, gender, sexualities, race, class, geography, biography, Southern Studies, LGBTQIA studies, trauma recovery, courses about aging and the life course, or of course, it could be read entirely for pleasure.
First-Gen PhDs Navigating Institutional Power
The contributors to
Amplified Voices, Intersecting Identities: First-Gen PhDs Navigating Institutional Power overcame deeply unequal educational systems to become the first in their families to finish college. Now, they are among the 3% of first-generation undergraduate students to go on to graduate school, in spite of structural barriers that worked against them.
These scholars write of socialization to the professoriate through the complex lens of intersectional identities of race, ethnicity, gender, sexuality, and social class.
These first-generation graduate students have crafted critical narratives of the structural obstacles within higher education that stand in the way of brilliant scholars who are poor and working-class, Black, Indigenous, Latinx, Asian, immigrant, queer, white, and women. They write of agency in creating defiant networks of support, of sustaining connections to family and communities, of their activism and advocacy on campus. They refuse to perpetuate the myths of meritocracy that reproduce the inequalities of higher education. In response to research literature and to campus programming that frames their identities around “need”, they write instead of agentive and politicized intersectional identities as first-generation graduate students, committed to institutional change through their research, teaching, and service.
Contributors are: Lamesha C. Brown, LaToya Brown, Altheria Caldera, Araceli Calderón, Marisa V. Cervantes, Joy Cobb, Raven K. Cokley, Francine R. Coston, Angela Gay, Josué R. López, Rebecca Morgan, Gloria A. Negrete-Lopez, Lisa S. Palacios, Takeshia Pierre, Alejandra I. Ramírez, Matt Reid, Ebony Russ, Jaye Sablan, Travis Smith, Phitsamay S. Uy, Jane A. Van Galen, Jason K. Wallace and Lin Wu.
These scholars write of socialization to the professoriate through the complex lens of intersectional identities of race, ethnicity, gender, sexuality, and social class.
These first-generation graduate students have crafted critical narratives of the structural obstacles within higher education that stand in the way of brilliant scholars who are poor and working-class, Black, Indigenous, Latinx, Asian, immigrant, queer, white, and women. They write of agency in creating defiant networks of support, of sustaining connections to family and communities, of their activism and advocacy on campus. They refuse to perpetuate the myths of meritocracy that reproduce the inequalities of higher education. In response to research literature and to campus programming that frames their identities around “need”, they write instead of agentive and politicized intersectional identities as first-generation graduate students, committed to institutional change through their research, teaching, and service.
Contributors are: Lamesha C. Brown, LaToya Brown, Altheria Caldera, Araceli Calderón, Marisa V. Cervantes, Joy Cobb, Raven K. Cokley, Francine R. Coston, Angela Gay, Josué R. López, Rebecca Morgan, Gloria A. Negrete-Lopez, Lisa S. Palacios, Takeshia Pierre, Alejandra I. Ramírez, Matt Reid, Ebony Russ, Jaye Sablan, Travis Smith, Phitsamay S. Uy, Jane A. Van Galen, Jason K. Wallace and Lin Wu.
First-Gen PhDs Navigating Institutional Power
The contributors to
Amplified Voices, Intersecting Identities: First-Gen PhDs Navigating Institutional Power overcame deeply unequal educational systems to become the first in their families to finish college. Now, they are among the 3% of first-generation undergraduate students to go on to graduate school, in spite of structural barriers that worked against them.
These scholars write of socialization to the professoriate through the complex lens of intersectional identities of race, ethnicity, gender, sexuality, and social class.
These first-generation graduate students have crafted critical narratives of the structural obstacles within higher education that stand in the way of brilliant scholars who are poor and working-class, Black, Indigenous, Latinx, Asian, immigrant, queer, white, and women. They write of agency in creating defiant networks of support, of sustaining connections to family and communities, of their activism and advocacy on campus. They refuse to perpetuate the myths of meritocracy that reproduce the inequalities of higher education. In response to research literature and to campus programming that frames their identities around “need”, they write instead of agentive and politicized intersectional identities as first-generation graduate students, committed to institutional change through their research, teaching, and service.
Contributors are: Lamesha C. Brown, LaToya Brown, Altheria Caldera, Araceli Calderón, Marisa V. Cervantes, Joy Cobb, Raven K. Cokley, Francine R. Coston, Angela Gay, Josué R. López, Rebecca Morgan, Gloria A. Negrete-Lopez, Lisa S. Palacios, Takeshia Pierre, Alejandra I. Ramírez, Matt Reid, Ebony Russ, Jaye Sablan, Travis Smith, Phitsamay S. Uy, Jane A. Van Galen, Jason K. Wallace and Lin Wu.
These scholars write of socialization to the professoriate through the complex lens of intersectional identities of race, ethnicity, gender, sexuality, and social class.
These first-generation graduate students have crafted critical narratives of the structural obstacles within higher education that stand in the way of brilliant scholars who are poor and working-class, Black, Indigenous, Latinx, Asian, immigrant, queer, white, and women. They write of agency in creating defiant networks of support, of sustaining connections to family and communities, of their activism and advocacy on campus. They refuse to perpetuate the myths of meritocracy that reproduce the inequalities of higher education. In response to research literature and to campus programming that frames their identities around “need”, they write instead of agentive and politicized intersectional identities as first-generation graduate students, committed to institutional change through their research, teaching, and service.
Contributors are: Lamesha C. Brown, LaToya Brown, Altheria Caldera, Araceli Calderón, Marisa V. Cervantes, Joy Cobb, Raven K. Cokley, Francine R. Coston, Angela Gay, Josué R. López, Rebecca Morgan, Gloria A. Negrete-Lopez, Lisa S. Palacios, Takeshia Pierre, Alejandra I. Ramírez, Matt Reid, Ebony Russ, Jaye Sablan, Travis Smith, Phitsamay S. Uy, Jane A. Van Galen, Jason K. Wallace and Lin Wu.
What if normative gender standards were legally enforced? How would our institutions inform and enforce these rules and regulations? What would be the consequences of failing to comply with gender expression standards? It’s in the midst of this maelstrom that we join Alex, our genderfluid and nonbinary protagonist who, during the thick of their adolescence, must navigate the choppy waters of lust, love, friendship, schooling, loss, and their city’s rigid – and perhaps lethal – gender expectations. In this world, Alex must constantly exchange their true self for safety and compliance, a relentless transaction from which they feel they never will escape. Can they navigate this slippery slope, alongside their patchwork community of friends and allies? Or is arrest and social persecution inevitable?
This novel is an honest and raw examination of queer lives. Gender Optics will illustrate, interrogate, and challenge the harmful products of binary hegemonic systems that all too often push gender variant folks to the fringes of society. While Gender Optics can be read purely for pleasure, it can also be used as supplemental reading for courses in critical theory, gender theory, gender and sexuality studies, LGBTQ studies, intersectionality, and arts-based research.
This novel is an honest and raw examination of queer lives. Gender Optics will illustrate, interrogate, and challenge the harmful products of binary hegemonic systems that all too often push gender variant folks to the fringes of society. While Gender Optics can be read purely for pleasure, it can also be used as supplemental reading for courses in critical theory, gender theory, gender and sexuality studies, LGBTQ studies, intersectionality, and arts-based research.
What if normative gender standards were legally enforced? How would our institutions inform and enforce these rules and regulations? What would be the consequences of failing to comply with gender expression standards? It’s in the midst of this maelstrom that we join Alex, our genderfluid and nonbinary protagonist who, during the thick of their adolescence, must navigate the choppy waters of lust, love, friendship, schooling, loss, and their city’s rigid – and perhaps lethal – gender expectations. In this world, Alex must constantly exchange their true self for safety and compliance, a relentless transaction from which they feel they never will escape. Can they navigate this slippery slope, alongside their patchwork community of friends and allies? Or is arrest and social persecution inevitable?
This novel is an honest and raw examination of queer lives. Gender Optics will illustrate, interrogate, and challenge the harmful products of binary hegemonic systems that all too often push gender variant folks to the fringes of society. While Gender Optics can be read purely for pleasure, it can also be used as supplemental reading for courses in critical theory, gender theory, gender and sexuality studies, LGBTQ studies, intersectionality, and arts-based research.
This novel is an honest and raw examination of queer lives. Gender Optics will illustrate, interrogate, and challenge the harmful products of binary hegemonic systems that all too often push gender variant folks to the fringes of society. While Gender Optics can be read purely for pleasure, it can also be used as supplemental reading for courses in critical theory, gender theory, gender and sexuality studies, LGBTQ studies, intersectionality, and arts-based research.
Twinkle follows Tess Lee and Jack Miller after two years of marriage. Tess is a wildly successful and world-famous novelist. Her inspirational books explore our innermost struggles and the human need to believe that there is light at the end of the tunnel. Jack is a federal agent. After spending decades immersed in a violent world, a residue remains. As they both heal from past trauma, their epic love, fostered by their ability to truly see one another, has brought them true happiness. However, when an anonymous threat is made against Tess’s life, everything changes. Will they learn to lean on each other, or will they fall apart into the darkness? Their friends are along for the ride: Omar, Tess’s sarcastic best friend, who calls her Butterfly; the female president of the United States, who Tess visits regularly to discuss politics and bake cookies; Joe, Jack’s friend from the Bureau, who understands the sacrifices he’s made; and Bobby, Jack’s younger friend, who never fails to lend a calming presence.
Twinkle is a novel about the nature of doubt, the struggle to feel worthy of love, the relationship of the small part to the greater whole, and the ways in which love – from lovers, friends, or the art we experience – can help us move from trauma to healing and redemption. Written as unfolding action,
Twinkle is a poignant novel that moves fluidly between melancholy, humor, and joy. It can be read entirely for pleasure, selected for book clubs, or used as supplemental reading in a variety of courses in communication, psychology, social work, sociology, or women’s studies/gender studies.
Twinkle follows Tess Lee and Jack Miller after two years of marriage. Tess is a wildly successful and world-famous novelist. Her inspirational books explore our innermost struggles and the human need to believe that there is light at the end of the tunnel. Jack is a federal agent. After spending decades immersed in a violent world, a residue remains. As they both heal from past trauma, their epic love, fostered by their ability to truly see one another, has brought them true happiness. However, when an anonymous threat is made against Tess’s life, everything changes. Will they learn to lean on each other, or will they fall apart into the darkness? Their friends are along for the ride: Omar, Tess’s sarcastic best friend, who calls her Butterfly; the female president of the United States, who Tess visits regularly to discuss politics and bake cookies; Joe, Jack’s friend from the Bureau, who understands the sacrifices he’s made; and Bobby, Jack’s younger friend, who never fails to lend a calming presence.
Twinkle is a novel about the nature of doubt, the struggle to feel worthy of love, the relationship of the small part to the greater whole, and the ways in which love – from lovers, friends, or the art we experience – can help us move from trauma to healing and redemption. Written as unfolding action,
Twinkle is a poignant novel that moves fluidly between melancholy, humor, and joy. It can be read entirely for pleasure, selected for book clubs, or used as supplemental reading in a variety of courses in communication, psychology, social work, sociology, or women’s studies/gender studies.
Educating for a Critical Consciousness
Thousands of diverse museums, including art galleries and heritage sites, exist around the world today and they draw millions of people, audiences who come to view the exhibitions and artefacts and equally importantly, to learn from them about the world and themselves. This makes museums active public educators who imagine, visualise, represent and story the past and the present with the specific aim of creating knowledge. Problematically, the visuals and narratives used to inform visitors are never neutral. Feminist cultural and adult education studies have shown that all too frequently they include epistemologies of mastery that reify the histories and deeds of ‘great men.' Despite pressures from feminist scholars and professionals, normative public museums continue to be rife with patriarchal ideologies that hide behind referential illusions of authority and impartiality to mask the many problematic ways gender is represented and interpreted, the values imbued in those representations and interpretations and their complicity in the cancellation of women’s stories in favour of conventional masculine historical accounts that shore up male superiority, entitlement, privilege, and dominance.
Feminist Critique and the Museum: Educating for a Critical Consciousness problematises museums as it illustrates ways they can be become pedagogical spaces of possibility. This edited volume showcases the imaginative social critique that can be found in feminist exhibitions, and the role that women’s museums around the world are attempting to play in terms of transforming our understandings of women, gender, and the potential of museums to create inclusive narratives.
Feminist Critique and the Museum: Educating for a Critical Consciousness problematises museums as it illustrates ways they can be become pedagogical spaces of possibility. This edited volume showcases the imaginative social critique that can be found in feminist exhibitions, and the role that women’s museums around the world are attempting to play in terms of transforming our understandings of women, gender, and the potential of museums to create inclusive narratives.
Educating for a Critical Consciousness
Thousands of diverse museums, including art galleries and heritage sites, exist around the world today and they draw millions of people, audiences who come to view the exhibitions and artefacts and equally importantly, to learn from them about the world and themselves. This makes museums active public educators who imagine, visualise, represent and story the past and the present with the specific aim of creating knowledge. Problematically, the visuals and narratives used to inform visitors are never neutral. Feminist cultural and adult education studies have shown that all too frequently they include epistemologies of mastery that reify the histories and deeds of ‘great men.' Despite pressures from feminist scholars and professionals, normative public museums continue to be rife with patriarchal ideologies that hide behind referential illusions of authority and impartiality to mask the many problematic ways gender is represented and interpreted, the values imbued in those representations and interpretations and their complicity in the cancellation of women’s stories in favour of conventional masculine historical accounts that shore up male superiority, entitlement, privilege, and dominance.
Feminist Critique and the Museum: Educating for a Critical Consciousness problematises museums as it illustrates ways they can be become pedagogical spaces of possibility. This edited volume showcases the imaginative social critique that can be found in feminist exhibitions, and the role that women’s museums around the world are attempting to play in terms of transforming our understandings of women, gender, and the potential of museums to create inclusive narratives.
Feminist Critique and the Museum: Educating for a Critical Consciousness problematises museums as it illustrates ways they can be become pedagogical spaces of possibility. This edited volume showcases the imaginative social critique that can be found in feminist exhibitions, and the role that women’s museums around the world are attempting to play in terms of transforming our understandings of women, gender, and the potential of museums to create inclusive narratives.
Undergraduates and Inmates Write Their Way Out
Series:
Critical Storytelling, Volume: 4
Critical stories are narratives that recount the writer’s experiences, situating those experiences in broader cultural contexts. In this volume of
Critical Storytelling, marginalized, excluded, and oppressed peoples share insights from their liminality to help readers learn from their perspectives on living from behind invisible bars. Female inmates at Decatur’s Correctional Center and the undergraduate Millikin University students who worked with them come together to give voice to their specific histories of living from behind invisibile bars and pose important questions to the reader about inciting change for the future. Specifically, the voices in this volume seek to expose, analyze, and challenge deeply-entrenched narratives and characterizations of incarcerated women, whose histories are often marked by sexual abuse, domestic violence, poverty, PTSD, a lack of education, housing insecurity, mental illness, and substance addiction. These silenced female inmate voices need to be heard and contextualized within the larger metanarrative of prison literature. Through telling critical stories, these writers attempt to: sustain recovery from trauma, make positive changes and informed decisions, create a real sense of empowerment, strengthen their capacity to exercise personal agency, and inspire audiences to create change far outside the reaches of physical and metaphorical bars.
Contributors are: Anonymous, Soren Belle, Megan Batty, Dwight G. Brown, Jr., Sandra Brown, Kathryn Coffey, Kelly Cunningham, Paiten Hamilton, Kathlyn J. Housh, Rebekah Icenesse, Kala Keller, Jelisa Lovette, Bric Martin, Amanda Minetti, Laura Nearing, Angie Oaks, Claire Prendergast, Cara Quiett, J. M. Spence, Noah Villarreal and Alisha Walker.
Contributors are: Anonymous, Soren Belle, Megan Batty, Dwight G. Brown, Jr., Sandra Brown, Kathryn Coffey, Kelly Cunningham, Paiten Hamilton, Kathlyn J. Housh, Rebekah Icenesse, Kala Keller, Jelisa Lovette, Bric Martin, Amanda Minetti, Laura Nearing, Angie Oaks, Claire Prendergast, Cara Quiett, J. M. Spence, Noah Villarreal and Alisha Walker.
Undergraduates and Inmates Write Their Way Out
Series:
Critical Storytelling, Volume: 4
Critical stories are narratives that recount the writer’s experiences, situating those experiences in broader cultural contexts. In this volume of
Critical Storytelling, marginalized, excluded, and oppressed peoples share insights from their liminality to help readers learn from their perspectives on living from behind invisible bars. Female inmates at Decatur’s Correctional Center and the undergraduate Millikin University students who worked with them come together to give voice to their specific histories of living from behind invisibile bars and pose important questions to the reader about inciting change for the future. Specifically, the voices in this volume seek to expose, analyze, and challenge deeply-entrenched narratives and characterizations of incarcerated women, whose histories are often marked by sexual abuse, domestic violence, poverty, PTSD, a lack of education, housing insecurity, mental illness, and substance addiction. These silenced female inmate voices need to be heard and contextualized within the larger metanarrative of prison literature. Through telling critical stories, these writers attempt to: sustain recovery from trauma, make positive changes and informed decisions, create a real sense of empowerment, strengthen their capacity to exercise personal agency, and inspire audiences to create change far outside the reaches of physical and metaphorical bars.
Contributors are: Anonymous, Soren Belle, Megan Batty, Dwight G. Brown, Jr., Sandra Brown, Kathryn Coffey, Kelly Cunningham, Paiten Hamilton, Kathlyn J. Housh, Rebekah Icenesse, Kala Keller, Jelisa Lovette, Bric Martin, Amanda Minetti, Laura Nearing, Angie Oaks, Claire Prendergast, Cara Quiett, J. M. Spence, Noah Villarreal and Alisha Walker.
Contributors are: Anonymous, Soren Belle, Megan Batty, Dwight G. Brown, Jr., Sandra Brown, Kathryn Coffey, Kelly Cunningham, Paiten Hamilton, Kathlyn J. Housh, Rebekah Icenesse, Kala Keller, Jelisa Lovette, Bric Martin, Amanda Minetti, Laura Nearing, Angie Oaks, Claire Prendergast, Cara Quiett, J. M. Spence, Noah Villarreal and Alisha Walker.
Resistance and Resilience
Large numbers of teachers have left the profession because teaching has become so time-consuming due to excessive workload. With so many women teachers leaving the profession, the author examines why some women teachers were not only staying in the profession but also giving up their time and energy to engage in trade union activism as a form of resistance against the raft of policy changes which they believe to be the root cause for the exodus.
Exploring Narratives of Women Teacher Trade Union Activists attempts to discover why they are so motivated.
Narrative analysis is employed as the methodology in conjunction with a life history interview approach. This volume cites the work of Zembylas and Foucault, focusing on emotion and affect in education, political and social justice, teacher identity, teachers’ self-formation, the emotional labour of teaching, resistance and power, which is rooted in the social theory of post-structuralism. The author explores the strained relationship between teachers and government and how teacher professionalism is being perceived as an act of resistance in itself.
Narrative analysis is employed as the methodology in conjunction with a life history interview approach. This volume cites the work of Zembylas and Foucault, focusing on emotion and affect in education, political and social justice, teacher identity, teachers’ self-formation, the emotional labour of teaching, resistance and power, which is rooted in the social theory of post-structuralism. The author explores the strained relationship between teachers and government and how teacher professionalism is being perceived as an act of resistance in itself.
Resistance and Resilience
Large numbers of teachers have left the profession because teaching has become so time-consuming due to excessive workload. With so many women teachers leaving the profession, the author examines why some women teachers were not only staying in the profession but also giving up their time and energy to engage in trade union activism as a form of resistance against the raft of policy changes which they believe to be the root cause for the exodus.
Exploring Narratives of Women Teacher Trade Union Activists attempts to discover why they are so motivated.
Narrative analysis is employed as the methodology in conjunction with a life history interview approach. This volume cites the work of Zembylas and Foucault, focusing on emotion and affect in education, political and social justice, teacher identity, teachers’ self-formation, the emotional labour of teaching, resistance and power, which is rooted in the social theory of post-structuralism. The author explores the strained relationship between teachers and government and how teacher professionalism is being perceived as an act of resistance in itself.
Narrative analysis is employed as the methodology in conjunction with a life history interview approach. This volume cites the work of Zembylas and Foucault, focusing on emotion and affect in education, political and social justice, teacher identity, teachers’ self-formation, the emotional labour of teaching, resistance and power, which is rooted in the social theory of post-structuralism. The author explores the strained relationship between teachers and government and how teacher professionalism is being perceived as an act of resistance in itself.
Body Politics in a Trump World
In the wake of Donald J. Trump’s unprecedented victory and his administration’s multi-pronged attacks on an array of vulnerable populations, a diverse collection of scholars was asked to document the ways in which marginalized peoples have experienced the first years of Trump mayhem. The essays in this volume ask us to think through tough narratives of exclusion, exile, and pain. The challenge in this book is to represent the unrepresentable, to document in chilling detail how Trump, his allies in government, and his unshakeable base have weaponized the culture war and threatened the ideals of the Republic. This book invites us to experience the scarifying perspective of the marginalized Other, to remember to honor all our most human stories that, woven together, make up the collective ‘us’; the collective ‘U.S.’ The editors also hope this collection suggests a way forward, a way to defeat American nativism and a way to end the war on those of us who are, on this sad day, our nation’s public enemies.
Body Politics in a Trump World
In the wake of Donald J. Trump’s unprecedented victory and his administration’s multi-pronged attacks on an array of vulnerable populations, a diverse collection of scholars was asked to document the ways in which marginalized peoples have experienced the first years of Trump mayhem. The essays in this volume ask us to think through tough narratives of exclusion, exile, and pain. The challenge in this book is to represent the unrepresentable, to document in chilling detail how Trump, his allies in government, and his unshakeable base have weaponized the culture war and threatened the ideals of the Republic. This book invites us to experience the scarifying perspective of the marginalized Other, to remember to honor all our most human stories that, woven together, make up the collective ‘us’; the collective ‘U.S.’ The editors also hope this collection suggests a way forward, a way to defeat American nativism and a way to end the war on those of us who are, on this sad day, our nation’s public enemies.
What is a family? How do families of choice develop?
These questions permeate Via Chicago as ten people come together as a familial unit after each experiencing and (at least) beginning to recover from prior traumatic experiences. Ella and Linsk are a nonmonogamous couple who have helped one another heal and built an unconventional family together with Case, Kaisa, Reeves, Jo, Andrei, and Michelle over the course of a decade. As the novel begins, Mercury has just moved to Chicago to pursue graduate study when they begin a romantic relationship with Ella and a broader emotional engagement with the family. At the same time, Mercury is beginning to work through traumatic past experiences while Jo might have found love in the form of a new guy the family just calls Twitter Boy. As the novel progresses, we follow Mercury, Jo, and the rest of the family as each relates to their own and others’ traumatic experiences and bonds together over these and other shared aspects of their lives, desires, and goals.
Via Chicago could be utilized in the teaching of sociology, families, romantic relationships, gender, sexualities, geography, urban studies, LGBTQIA studies, polyamory, trauma recovery, or narrative courses, or of course, it could be read entirely for pleasure.
These questions permeate Via Chicago as ten people come together as a familial unit after each experiencing and (at least) beginning to recover from prior traumatic experiences. Ella and Linsk are a nonmonogamous couple who have helped one another heal and built an unconventional family together with Case, Kaisa, Reeves, Jo, Andrei, and Michelle over the course of a decade. As the novel begins, Mercury has just moved to Chicago to pursue graduate study when they begin a romantic relationship with Ella and a broader emotional engagement with the family. At the same time, Mercury is beginning to work through traumatic past experiences while Jo might have found love in the form of a new guy the family just calls Twitter Boy. As the novel progresses, we follow Mercury, Jo, and the rest of the family as each relates to their own and others’ traumatic experiences and bonds together over these and other shared aspects of their lives, desires, and goals.
Via Chicago could be utilized in the teaching of sociology, families, romantic relationships, gender, sexualities, geography, urban studies, LGBTQIA studies, polyamory, trauma recovery, or narrative courses, or of course, it could be read entirely for pleasure.
What is a family? How do families of choice develop?
These questions permeate Via Chicago as ten people come together as a familial unit after each experiencing and (at least) beginning to recover from prior traumatic experiences. Ella and Linsk are a nonmonogamous couple who have helped one another heal and built an unconventional family together with Case, Kaisa, Reeves, Jo, Andrei, and Michelle over the course of a decade. As the novel begins, Mercury has just moved to Chicago to pursue graduate study when they begin a romantic relationship with Ella and a broader emotional engagement with the family. At the same time, Mercury is beginning to work through traumatic past experiences while Jo might have found love in the form of a new guy the family just calls Twitter Boy. As the novel progresses, we follow Mercury, Jo, and the rest of the family as each relates to their own and others’ traumatic experiences and bonds together over these and other shared aspects of their lives, desires, and goals.
Via Chicago could be utilized in the teaching of sociology, families, romantic relationships, gender, sexualities, geography, urban studies, LGBTQIA studies, polyamory, trauma recovery, or narrative courses, or of course, it could be read entirely for pleasure.
These questions permeate Via Chicago as ten people come together as a familial unit after each experiencing and (at least) beginning to recover from prior traumatic experiences. Ella and Linsk are a nonmonogamous couple who have helped one another heal and built an unconventional family together with Case, Kaisa, Reeves, Jo, Andrei, and Michelle over the course of a decade. As the novel begins, Mercury has just moved to Chicago to pursue graduate study when they begin a romantic relationship with Ella and a broader emotional engagement with the family. At the same time, Mercury is beginning to work through traumatic past experiences while Jo might have found love in the form of a new guy the family just calls Twitter Boy. As the novel progresses, we follow Mercury, Jo, and the rest of the family as each relates to their own and others’ traumatic experiences and bonds together over these and other shared aspects of their lives, desires, and goals.
Via Chicago could be utilized in the teaching of sociology, families, romantic relationships, gender, sexualities, geography, urban studies, LGBTQIA studies, polyamory, trauma recovery, or narrative courses, or of course, it could be read entirely for pleasure.
Award-Winning Finalist of the 2020 USA Best Book Awards—Fiction Anthologies!
Winner of the 2020 American Fiction Awards—Anthologies!
Candy Floss Collection is a set of three previously released, bestselling novels: Low-Fat Love, Blue, and 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.
Winner of the 2020 American Fiction Awards—Anthologies!
Candy Floss Collection is a set of three previously released, bestselling novels: Low-Fat Love, Blue, and 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.
3 novels
Award-Winning Finalist of the 2020 USA Best Book Awards—Fiction Anthologies!
Winner of the 2020 American Fiction Awards—Anthologies!
Candy Floss Collection is a set of three previously released, bestselling novels: Low-Fat Love, Blue, and 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.
Winner of the 2020 American Fiction Awards—Anthologies!
Candy Floss Collection is a set of three previously released, bestselling novels: Low-Fat Love, Blue, and 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.