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For a generation or more, literary theorists have used the metaphor of "the death of the author" in considering the observation that to write is to abdicate control over the meanings one's text is capable of generating. But in the case of AIDS diaries, the metaphor can be literal. Facing It examines the genre not in classificatory terms but pragmatically, as the site of a social interaction. Through a detailed study of three such diaries, originating respectively in France, the United States, and Australia, Ross Chambers demonstrates that issues concerning the politics of AIDS writing and the ethics of reading are linked by a common concern with the problematics of survivorhood. Two of the diaries chosen for special attention in this light are video diaries: La Pudeur ou l'impudeur by Hervé Guibert (author of To the Friend Who Did Not Save My Life), and Silverlake Life, by the American videomaker Tom Joslin (aided by his lover and friends, notably Peter Friedman). The third is a defiant but anxious text, Unbecoming, by an American anthropologist, Eric Michaels, who died in Brisbane, Australia, in 1988. Other authors more briefly examined include Pascal de Duve, Bertrand Duquénelle, Alain Emmanuel Dreuilhe, David Wojnarowicz, Gary Fisher, and the filmmaker (not a diarist) Laurie Lynd. Finally, Facing It takes on the issue of its own relevance, asking what contributions literary criticism can make in the midst of an epidemic.
"Groundbreaking in its approach and potentially wide in its appeal. . . . The rigor of the ideas, their dramatic nature, and the political drive of the rhetoric all should win Facing It a large readership that could extend far beyond students of narrative or queer theory." --David Bergman, Towson University, editor of Camp Grounds: Style and Homosexuality
Ross Chambers is Distinguished University Professor of French and Comparative Literature, University of Michigan, and author of Room for Maneuver: Reading (the) Oppositional (in) Narrative and Story and Situation: Narrative Seduction and the Power of Fiction.

For a generation or more, literary theorists have used the metaphor of "the death of the author" in considering the observation that to write is to abdicate control over the meanings one's text is capable of generating. But in the case of AIDS diaries, the metaphor can be literal. Facing It examines the genre not in classificatory terms but pragmatically, as the site of a social interaction. Through a detailed study of three such diaries, originating respectively in France, the United States, and Australia, Ross Chambers demonstrates that issues concerning the politics of AIDS writing and the ethics of reading are linked by a common concern with the problematics of survivorhood. Two of the diaries chosen for special attention in this light are video diaries: La Pudeur ou l'impudeur by Hervé Guibert (author of To the Friend Who Did Not Save My Life), and Silverlake Life, by the American videomaker Tom Joslin (aided by his lover and friends, notably Peter Friedman). The third is a defiant but anxious text, Unbecoming, by an American anthropologist, Eric Michaels, who died in Brisbane, Australia, in 1988. Other authors more briefly examined include Pascal de Duve, Bertrand Duquénelle, Alain Emmanuel Dreuilhe, David Wojnarowicz, Gary Fisher, and the filmmaker (not a diarist) Laurie Lynd. Finally, Facing It takes on the issue of its own relevance, asking what contributions literary criticism can make in the midst of an epidemic.
"Groundbreaking in its approach and potentially wide in its appeal. . . . The rigor of the ideas, their dramatic nature, and the political drive of the rhetoric all should win Facing It a large readership that could extend far beyond students of narrative or queer theory." --David Bergman, Towson University, editor of Camp Grounds: Style and Homosexuality
Ross Chambers is Distinguished University Professor of French and Comparative Literature, University of Michigan, and author of Room for Maneuver: Reading (the) Oppositional (in) Narrative and Story and Situation: Narrative Seduction and the Power of Fiction.

In Fair Sex, Savage Dreams Jean Walton examines the work of early feminist psychoanalytic writing to decipher in it the unacknowledged yet foundational role of race. Focusing on the 1920s and 1930s, a time when white women were actively refashioning Freud’s problematic accounts of sexual subjectivity, Walton rereads in particular the writing of British analysts Joan Riviere and Melanie Klein, modernist poet H.D., the eccentric French analyst Marie Bonaparte, and anthropologist Margaret Mead.
Charting the fantasies of racial difference in these women’s writings, Walton establishes that race—particularly during this period—was inseparable from accounts of gender and sexuality. While arguing that these women remained notably oblivious to the racial meanings embedded in their own attempts to rearticulate feminine sexuality, Walton uses these very blindspots to understand how race and sex are deeply imbricated in the constitution of subjectivity. Challenging the notion that subjects acquire gender identities in isolation from racial ones, she thus demonstrates how white-centered psychoanalytic theories have formed the basis for more contemporary feminist and queer explorations of fantasy, desire, power, and subjectivity.
Fair Sex, Savage Dreams will appeal to scholars of psychoanalysis, literary and cinematic modernism, race studies, queer theory, feminist theory, and anthropology.

Parents around the world grapple with the common challenge of balancing work and child care. Despite common problems, the industrialized nations have developed dramatically different social and labor market policies—policies that vary widely in the level of support they provide for parents and the extent to which they encourage an equal division of labor between parents as they balance work and care. In Families That Work, Janet Gornick and Marcia Meyers take a close look at the work-family policies in the United States and abroad and call for a new and expanded role for the U.S. government in order to bring this country up to the standards taken for granted in many other Western nations. In many countries in Europe and in Canada, family leave policies grant parents paid time off to care for their young children, and labor market regulations go a long way toward ensuring that work does not overwhelm family obligations. In addition, early childhood education and care programs guarantee access to high-quality care for their children. In most of these countries, policies encourage gender equality by strengthening mothers' ties to employment and encouraging fathers to spend more time caregiving at home. In sharp contrast, Gornick and Meyers show how in the United States—an economy with high labor force participation among both fathers and mothers—parents are left to craft private solutions to the society-wide dilemma of "who will care for the children?" Parents—overwhelmingly mothers—must loosen their ties to the workplace to care for their children; workers are forced to negotiate with their employers, often unsuccessfully, for family leave and reduced work schedules; and parents must purchase care of dubious quality, at high prices, from consumer markets. By leaving child care solutions up to hard-pressed working parents, these private solutions exact a high price in terms of gender inequality in the workplace and at home, family stress and economic insecurity, and—not least—child well-being. Gornick and Meyers show that it is possible–based on the experiences of other countries—to enhance child well-being and to increase gender equality by promoting more extensive and egalitarian family leave, work-time, and child care policies. Families That Work demonstrates convincingly that the United States has much to learn from policies in Europe and in Canada, and that the often-repeated claim that the United States is simply "too different" to draw lessons from other countries is based largely on misperceptions about policies in other countries and about the possibility of policy expansion in the United States.

Fashion, and the glossy magazines it inhabits, allow Western culture to dream. It permits a person to fantasize and to experiment with new identities. It flaunts glamour and success. Appearance becomes something to be perfected and admired.

These dreams and freedoms, Rebecca Arnold proposes, are contradictory. Fashion and its surrounding imagery elicit fear and anxiety in their consumers as well as pleasure. Fashion has come to incorporate the underside of modern life, with violence and decay becoming a dominant theme in clothing design and photography.

Arnold draws on diverse written sources to explore the complex nature of modern fashion. She discusses a range of key themes: how fashion uses and abuses the power of wealth; the alienating promotion of "good" taste; the power plays of sex and display; and how identities can be blurred to disguise and confuse. In order to unravel the contradictory emotions of desire and anxiety they provoke, she never loses sight of the historical and cultural contexts in which fashion designers and photographers perform.

Generously illustrated, Fashion, Desire and Anxiety focuses on the last thirty years, from photographic works of the 1970s to the beginning of the twenty-first century.

In her insightful study, Fashioning Diaspora, Vanita Reddy carefully maps how transnational itineraries of Indian beauty and fashion shape South Asian American cultural identities and racialized belonging from the 1990s to the late-2000s. She observes how diasporic subjects engage with and respond to various encounters with Indian beauty and fashion.
 
One of the first books to consider beauty and fashion as a point of entry into an examination of South Asian diasporic public cultures, Fashioning Diaspora examines a range of literature, visual art, and live performance. Through careful analyses of novels by Bharati Mukherjee and Jhumpa Lahiri, young adult literature, performance art by Shailja Patel, as well as objects of popular culture including an Indian American fashion doll, and beauty and adornment practices, Reddy challenges fashion and beauty as a set of dematerialized, overly commodified cultural practices. She argues instead that beauty and fashion structure South Asian Americans’ uneven access to social mobility, capital, and citizenship, and demonstrates their varying capacities to produce social attachments across national, class, racial, gender, and generational divides.  

In fifteenth-century Germany, women were singled out as witches for the first time in history; this book explores why. Sigrid Brauner examines the connections among three central developments in early modern Germany: a shift in gender roles for women; the rise of a new urban ideal of femininity; and the witch hunts that swept across Europe from 1435 to 1750.

Masculinity without men. In Female Masculinity Judith Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances.
Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. She rereads Anne Lister’s diaries and Radclyffe Hall’s The Well of Loneliness as foundational assertions of female masculine identity. She considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. She also explores issues of transsexuality among “transgender dykes”—lesbians who pass as men—and female-to-male transsexuals who may find the label of “lesbian” a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators.
Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.

In this quintessential work of queer theory, Jack Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two centuries. Demonstrating how female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances.

Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. He rereads Anne Lister's diaries and Radclyffe Hall's The Well of Loneliness as foundational assertions of female masculine identity; considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities; and explores issues of transsexuality among “transgender dykes”—lesbians who pass as men—and female-to-male transsexuals who may find the label of “lesbian” a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators.

Featuring a new preface by the author, this twentieth anniversary edition of Female Masculinity remains as insightful, timely, and necessary as ever.

An unapologetically African-centered monograph that reveals physical and spiritual forms and systems of female power and leadership in African cultures. Nwando Achebe’s unparalleled study documents elite females, female principles, and female spiritual entities across the African continent, from the ancient past to the present. Achebe breaks from Western perspectives, research methods, and their consequently incomplete, skewed accounts, to demonstrate the critical importance of distinctly African source materials and world views to any comprehensible African history. This means accounting for the two realities of African cosmology: the physical world of humans and the invisible realm of spiritual gods and forces. That interconnected universe allows biological men and women to become female-gendered males and male-gendered females. This phenomenon empowers the existence of particular African beings, such as female husbands, male priestesses, female kings, and female pharaohs. Achebe portrays their combined power, influence, and authority in a sweeping, African-centric narrative that leads to an analogous consideration of contemporary African women as heads of state, government officials, religious leaders, and prominent entrepreneurs.

In many Latin American countries, guerrilla struggle and feminism have been linked in surprising ways. Women were mobilized by the thousands to promote revolutionary agendas that had little to do with increasing gender equality. They ended up creating a uniquely Latin American version of feminism that combined revolutionary goals of economic equality and social justice with typically feminist aims of equality, nonviolence, and reproductive rights.

Drawing on more than two hundred interviews with women in Nicaragua, El Salvador, and the Mexican state of Chiapas, Karen Kampwirth tells the story of how the guerrilla wars led to the rise of feminism, why certain women became feminists, and what sorts of feminist movements they built. Feminism and the Legacy of Revolution: Nicaragua, El Salvador, Chiapas explores how the violent politics of guerrilla struggle could be related to the peaceful politics of feminism. It considers the gains, losses, and internal conflicts within revolutionary women’s organizations.

Feminism and the Legacy of Revolution challenges old assumptions regarding revolutionary movements and the legacy of those movements for the politics of daily life. It will appeal to a broad, interdisciplinary audience in political science, sociology, anthropology, women’s studies, and Latin American studies as well as to general readers with an interest in international feminism.

Feminism and the Politics of Childhood explores commonalities and conflicts between the various forms of feminism and the politics of childhood. This innovative collection introduces authors from a range of geographical contexts, social science disciplines, activist organizations, and theoretical perspectives. The wide variety of subjects covered includes refugee camps, care labor, family violence, and childhood education. Taken together, the contributions provide ways to conceptualize relations between women and children, addressing injustices faced by both groups.

The 1993 publication of Marianne A. Ferber and Julie A. Nelson's Beyond Economic Man was a landmark in both feminist scholarship and the discipline of economics, and it quickly became a handbook for those seeking to explore the emerging connections between the two. A decade later, this book looks back at the progress of feminist economics and forward to its future, offering both a thorough overview of feminist economic thought and a collection of new, high-quality work from the field's leading scholars.

Contemporary feminist scholarship has done much to challenge the many binary constructions at the heart of Western culture: white/nonwhite, theory/practice, and, most notably, masculine/feminine. Feminist criticism has reshaped these conceptions by breaking them apart and reconfiguring them into intersecting, relational fields of difference. The contributors to this collection look to the future of feminist theory and practice, specifically in terms of their complex relationship with the global and local configurations of postmodernity.

In the first part of this book, current feminist theory is assessed for possible future directions. Part two focuses primarily on political issues and part three on questions of the body. Topics include feminist success versus social backlash, global womens human rights, postcolonial feminism, the politics of reproduction, and narratives of womens aging in postmodern culture.

Contributors: Karen Barad, Anne C. Bellows, Charlotte Bunch, Nao Bustamante, Elaine K. Chang, Marianne DeKoven, Leela Fernandes, Susan Stanford Friedman, Coco Fusco, Radha S. Hegde, Cheryl Johnson-Odim, E. Ann Kaplan, Debra J. Liebowitz, Rajeswari Sunder Rajan, Cynthia Saltzman, Lynne Segal

Questions of gender, race, class, and sexuality have largely been left unexamined in surveillance studies. The contributors to this field-defining collection take up these questions, and in so doing provide new directions for analyzing surveillance. They use feminist theory to expose the ways in which surveillance practices and technologies are tied to systemic forms of discrimination that serve to normalize whiteness, able-bodiedness, capitalism, and heterosexuality. The essays discuss the implications of, among others, patriarchal surveillance in colonial North America, surveillance aimed at curbing the trafficking of women and sex work, women presented as having agency in the creation of the images that display their bodies via social media, full-body airport scanners, and mainstream news media discussion of honor killings in Canada and the concomitant surveillance of Muslim bodies. Rather than rehashing arguments as to whether or not surveillance keeps the state safe, the contributors investigate what constitutes surveillance, who is scrutinized, why, and at what cost. The work fills a gap in feminist scholarship and shows that gender, race, class, and sexuality should be central to any study of surveillance.

Contributors. Seantel Anaïs, Mark Andrejevic, Paisley Currah, Sayantani DasGupta, Shamita Das Dasgupta, Rachel E. Dubrofsky, Rachel Hall, Lisa Jean Moore, Yasmin Jiwani, Ummni Khan, Shoshana Amielle Magnet, Kelli Moore, Lisa Nakamura, Dorothy Roberts, Andrea Smith, Kevin Walby, Megan M. Wood, Laura Hyun Yi Kang

In Fighting for Recognition, R. Tyson Smith enters the world of independent professional wrestling, a community-based entertainment staged in community centers, high school gyms, and other modest venues. Like the big-name, televised pro wrestlers who originally inspired them, indie wrestlers engage in choreographed fights in character. Smith details the experiences, meanings, and motivations of the young men who wrestle as "Lethal" or "Southern Bad Boy," despite receiving little to no pay and risking the possibility of serious and sometimes permanent injury. Exploring intertwined issues of gender, class, violence, and the body, he sheds new light on the changing sources of identity in a postindustrial society that increasingly features low wages, insecure employment, and fragmented social support. Smith uncovers the tensions between strength and vulnerability, pain and solidarity, and homophobia and homoeroticism that play out both backstage and in the ring as the wrestlers seek recognition from fellow performers and devoted fans.

In Finding Voice, Kim Berman demonstrates how she was able to use visual arts training in disenfranchised communities as a tool for political and social transformation in South Africa. Using her own fieldwork as a case study, Berman shows how hands-on work in the arts with learners of all ages and backgrounds can contribute to economic stability by developing new skills, as well as enhancing public health and gender justice within communities. Berman’s work, and the community artwork her book documents, present the visual arts as a crucial channel for citizens to find their individual voices and to become agents for change in the arenas of human rights and democracy.

 

What happens when a baby is born with “ambiguous” genitalia or a combination of “male” and “female” body parts? Clinicians and parents in these situations are confronted with complicated questions such as whether a girl can have XY chromosomes, or whether some penises are “too small” for a male sex assignment. Since the 1950s, standard treatment has involved determining a sex for these infants and performing surgery to normalize the infant’s genitalia. Over the past decade intersex advocates have mounted unprecedented challenges to treatment, offering alternative perspectives about the meaning and appropriate medical response to intersexuality and driving the field of those who treat intersex conditions into a deep crisis. Katrina Karkazis offers a nuanced, compassionate picture of these charged issues in Fixing Sex, the first book to examine contemporary controversies over the medical management of intersexuality in the United States from the multiple perspectives of those most intimately involved.

Drawing extensively on interviews with adults with intersex conditions, parents, and physicians, Karkazis moves beyond the heated rhetoric to reveal the complex reality of how intersexuality is understood, treated, and experienced today. As she unravels the historical, technological, social, and political forces that have culminated in debates surrounding intersexuality, Karkazis exposes the contentious disagreements among theorists, physicians, intersex adults, activists, and parents—and all that those debates imply about gender and the changing landscape of intersex management. She argues that by viewing intersexuality exclusively through a narrow medical lens we avoid much more difficult questions. Do gender atypical bodies require treatment? Should physicians intervene to control the “sex” of the body? As this illuminating book reveals, debates over treatment for intersexuality force reassessment of the seemingly natural connections between gender, biology, and the body.

Challenging the posthumanist canon that celebrates the preeminence of matter, Ruth Miller, in Flourishing Thought contends that what nonhuman systems contribute to democracy is thought. Drawing on recent feminist theories of nonhuman life and politics, Miller shows that reproduction and flourishing are not antithetical to contemplation and sensitivity. After demonstrating that processes of life and processes of thought are indistinguishable, Miller finds that four menacing accumulations of matter and information—global surveillance, stored embryos, human clones, and reproductive trash—are politically productive rather than threats to democratic politics. As a consequence, she questions the usefulness of individual rights such as privacy and dignity, contests the value of the rational metaphysics underlying human-centered political participation, and reevaluates the gender relations that derive from this type of participation. Ultimately, in place of these human-centered structures, Miller posits a more meditative mode of democratic engagement.

Miller’s argument has shattering implications for the debates over the proper use and disposal of embryonic tissue, alarms about data gathering by the state and corporations, and other major ethical, social, and security issues.
 

For Dear Life chronicles feminist and artist Carol Jacobsen's deep commitment to the causes of justice and human rights, and focuses a critical lens on an American criminal-legal regime that imparts racist, gendered, and classist modes of punishment to women lawbreakers. Jacobsen's tireless work with and for women prisoners is charted in this rich assemblage of images and texts that reveal the collective strategies she and the prisoners have employed to receive justice. The book gives evidence that women's lawbreaking is often an effort to survive gender-based violence. The faces, letters, and testimonies of dozens of incarcerated women with whom Jacobsen has worked present a visceral yet politicized chorus of voices against the criminal-legal systems that fail us all. Their voices are joined by those of leading feminist scholars in essays that illuminate the arduous methods of dissent that Jacobsen and the others have employed to win freedom for more than a dozen women sentenced to life imprisonment, and to free many more from torturous prison conditions. The book is a document to Jacobsen's love and lifelong commitment to creating feminist justice and freedom, and to the efficacy of her artistic, legal, and extralegal political actions on behalf of women.

By November 1822, the British reading public had already voraciously consumed both Walter Scott’s expensive novels and Rudolf Ackermann’s exquisite lithographs. The next decade, referred to by some scholars as dormant and unproductive, is in fact bursting with Forget Me Nots, Friendship’s Offerings, Keepsakes, and Literary Souvenirs. By wrapping literature, poetry, and art into an alluring package, editors and publishers saturated the market with a new, popular, and best-selling genre, the literary annual. In Forget Me Not, Katherine D. Harris assesses the phenomenal rise of the annual and its origins in other English, German, and French literary forms as well as its social influence on women, its redefinition of the feminine, and its effects on late nineteenth- and early twentieth-century print culture. Harris adopts an interdisciplinary approach that uses textual and social contexts to explore a forum of subversive femininity, where warfare and the masculine hero were not celebrated.

Initially published in diminutive, decoratively bound volumes filled with engravings of popularly recognized artwork and “sentimental” poetry and prose, the annuals attracted a primarily middle-class female readership. The annuals were released each November, making them an ideal Christmas gift, lover’s present, or token of friendship. Selling more than 100,000 copies during each holiday season, the annuals were accused of causing an epidemic and inspiring an “unmasculine and unbawdy age” that lasted through 1860 and lingered in derivative forms until the early twentieth century in both the United States and Europe. The annual thrived in the 1820s and after despite—or perhaps because of—its “feminine” writing and beautiful form.

What happens to pregnant women when the largest country in the world implements a global health policy aimed at reorganizing hospitals and re- training health care workers to promote breastfeeding? Since 1992, the Chinese government has led the world in reorganizing more than 7,000 hospitals into “Baby- Friendly” hospitals. The initiative’s goal, overseen by UNICEF and the World Health Organization, is to promote the practice of breastfeeding by reorganizing hospital routines, spaces, and knowledge in maternity wards and obstetrics clinics. At the same time, China’s hospitals in the mid- 1990s operated as sites where the effects of economic reform and capitalism increasingly blurred the boundaries between state imperatives to produce healthy future citizens and the flexibility accorded individuals through their participation in an emerging consumer culture.

Formulas for Motherhood follows a group of women over eighteen months as they visited a Beijing Baby- Friendly Hospital over the course of their pregnancies and throughout their postpartum recoveries. The book shows how the space of the hospital operates as a microcosm of the larger social, political, and economic forces that urban Chinese women navigate in the process of becoming a mother. Relations between biomedical practices, heightened expectations of femininity and sexuality demanded by a consumer culture, alongside international and national agendas to promote maternal and child health, reveal new agents of maternal governance emerging at the very moment China’s economy heats up. This ethnography provides insight into how women’s creative pragmatism in a rapidly changing society leads to their views and decisions about motherhood.

"Fortune is a woman, and if you want to keep her under, you've got to knock her around some."—Niccolò Machiavelli

Hanna Pitkin's provocative and enduring study of Machiavelli was the first to systematically place gender at the center of its exploration of his political thought. In this edition, Pitkin adds a new afterword, in which she discusses the book's critical reception and situates the book's arguments in the context of recent interpretations of Machiavelli's thought.

"A close and often brilliant exegesis of Machiavelli's writings."—The American Political Science Review

In the first half of the nineteenth century, England became quite literally a world on wheels. The sweeping technological changes wrought by the railways, steam-powered factory engines, and progressively more sophisticated wheeled conveyances of all types produced a corresponding revolution in Victorian iconography: the image of the wheel emerged as a dominant trope for power, modernity, and progress.

In Fortune’s Wheel, an original and illuminating study, Elizabeth Campbell explores the ways in which Charles Dickens appropriated and made central to his novels the dominant symbol of his age. Between 1840 and 1860, a transformation took place in Dickens’ thinking about gender and time, and this revolution is recorded in iconographic representations of the goddess Fortune and wheel imagery that appear in his work.

Drawing on a rich history of both literary and visual representations of Fortune, Professor Campbell argues that Dickens’ contribution to both the iconographic and narrative traditions was to fuse the classical image of the wheel with the industrial one. As the wheel was increasingly identified as the official Victorian symbol for British industrial and economic progress, Dickens reacted by employing this icon to figure a more pessimistic historical vision—as the tragic symbol for human fate in the nineteenth century.

Fortune’s Wheel ably portrays the concept that, in both text and illustrations, images of fortune and the wheel in Dickens’ work record his abandonment of a linear, progressive, and arguably masculine view of history to embrace a cyclical model that has been identified with “women’s time.”

According to public health officials, obesity poses significant health risks and has become a modern-day epidemic. A closer look at this so-called epidemic, however, suggests that there are multiple perspectives on the fat body, not all of which view obesity as a health hazard.

Alongside public health officials at the Centers for Disease Control and Prevention are advertisers of the fashion-beauty complex, food industry advocates at the Center for Consumer Freedom, and activists at the National Association to Advance Fat Acceptance.

Framing Fat takes a bird’s-eye view of how these multiple actors construct the fat body by identifying the messages these groups put forth, particularly where issues of beauty, health, choice and responsibility, and social justice are concerned. Samantha Kwan and Jennifer Graves examine how laypersons respond to these conflicting messages and illustrate the gendered, raced, and classed implications within them. In doing so, they shed light on how dominant ideas about body fat have led to the moral indictment of body nonconformists, essentially “framing” them for their fat bodies.

Winner of the 2016 Nonfiction Category from The Authors' Zone

In recent years, members of legal, law enforcement, media and academic circles have portrayed rape as a special kind of crime distinct from other forms of violence. In Framing the Rape Victim, Carine M. Mardorossian argues that this differential treatment of rape has exacerbated the ghettoizing of sexual violence along gendered lines and has repeatedly led to women’s being accused of triggering, if not causing, rape through immodest behavior, comportment, passivity, or weakness.

Contesting the notion that rape is the result of deviant behaviors of victims or perpetrators, Mardorossian argues that rape saturates our culture and defines masculinity’s relation to femininity, both of which are structural positions rather than biologically derived ones. Using diverse examples throughout, Mardorossian draws from Hollywood film and popular culture to contemporary women’s fiction and hospitalized birth emphasizing that the position of dominant masculinity can be occupied by men, women, or institutions, while structural femininity is a position that may define and subordinate men, minorities, and other marginalized groups just as effectively as it does women.  Highlighting the legacies of the politically correct debates of the 1990s and the terrorist attacks of 9/11, the book illustrates how the framing of the term “victim” has played a fundamental role in constructing notions of agency that valorize autonomy and support exclusionary, especially masculine, models of American selfhood.

The gendering of rape, including by well-meaning, sometimes feminist, voices that claim to have victims’ best interests at heart, ultimately obscures its true role in our culture. Both a critical analysis and a call to action, Framing the Rape Victim shows that rape is not a special interest issue that pertains just to women but a pervasive one that affects our society as a whole.

Gilbert Patten, writing as Burt L. Standish, made a career of generating serialized twenty-thousand-word stories featuring his fictional creation Frank Merriwell, a student athlete at Yale University who inspired others to emulate his example of manly boyhood. Patten and his publisher, Street and Smith, initially had only a general idea about what would constitute Merriwell’s adventures and who would want to read about them when they introduced the hero in the dime novel Tip Top Weekly in 1896, but over the years what took shape was a story line that capitalized on middle-class fears about the insidious influence of modern life on the nation’s boys.

Merriwell came to symbolize the Progressive Era debate about how sport and school made boys into men. The saga featured the attractive Merriwell distinguishing between “good” and “bad” girls and focused on his squeaky-clean adventures in physical development and mentorship. By the serial’s conclusion, Merriwell had opened a school for “weak and wayward boys” that made him into a figure who taught readers how to approximate his example.

In Frank Merriwell and the Fiction of All-American Boyhood, Anderson treats Tip Top Weekly as a historical artifact, supplementing his reading of its text, illustrations, reader letters, and advertisements with his use of editorial correspondence, memoirs, trade journals, and legal documents. Anderson blends social and cultural history, with the history of business, gender, and sport, along with a general examination of childhood and youth in this fascinating study of how a fictional character was used to promote a homogeneous “normal” American boyhood rooted in an assumed pecking order of class, race, and gender.

Disability studies have long been the domain of medical and pedagogical academics. However, in recent years, the subject has outgrown its clinical origins. In Freaks of History, James MacDonald presents two dramatic explorations of disability within the wider themes of sexuality, gender, foreignness, and the other. Originally directed by Martin Harvey and performed by undergraduate students at the University of Exeter, Wellclose Square and Unsex Me Here analyze cultural marginalization against the backdrop of infamous historical events.
            MacDonald, who is cerebral palsied, recognizes that disability narratives are rarely written by and for disabled people. Therefore his plays, accompanied by critical essays and director’s notes, are a welcome addition to the emerging discourse of Crip theory, and essential reading for disability students and academics alike.

During the 1970s in the United States, hundreds of feminist, queer, and antiracist activists were imprisoned or became fugitives as they fought the changing contours of U.S. imperialism, global capitalism, and a repressive racial state. In Fugitive Life Stephen Dillon examines these activists' communiqués, films, memoirs, prison writing, and poetry to highlight the centrality of gender and sexuality to a mode of racialized power called the neoliberal-carceral state. Drawing on writings by Angela Davis, the George Jackson Brigade, Assata Shakur, the Weather Underground, and others, Dillon shows how these activists were among the first to theorize and make visible the links between conservative "law and order" rhetoric, free market ideology, incarceration, sexism, and the continued legacies of slavery. Dillon theorizes these prisoners and fugitives as queer figures who occupied a unique position from which to highlight how neoliberalism depended upon racialized mass incarceration. In so doing, he articulates a vision of fugitive freedom in which the work of these activists becomes foundational to undoing the reign of the neoliberal-carceral state.

As digital transformations continue to accelerate in the world, discourses of big data have come to dominate in a number of fields, from politics and economics, to media and education. But how can we really understand the digital world, ask the authors of Furious, when so much of the writing through which we grapple with it remains deeply problematic? In a compelling new work of feminist critical theory, Bassett, Kember and O'Riordan scrutinise many of the assumptions of a masculinist digital world, highlighting the tendency of digital humanities scholarship to venerate and essentialise technical forms, and to adopt gendered writing and citation practices. Contesting these writings, practices and politics, the authors foreground feminist traditions and contributions to the field, offering alternative modes of knowledge production, and a radically different, poetic writing style. Through this prism, Furious brings into focus themes including the automation of home and domestic work, the Anthropocene, and intersectional feminist technofutures.

As digital transformations continue to accelerate in the world, discourses of big data have come to dominate in a number of fields, from politics and economics, to media and education. But how can we really understand the digital world, ask the authors of Furious, when so much of the writing through which we grapple with it remains deeply problematic? In a compelling new work of feminist critical theory, Bassett, Kember and O'Riordan scrutinise many of the assumptions of a masculinist digital world, highlighting the tendency of digital humanities scholarship to venerate and essentialise technical forms, and to adopt gendered writing and citation practices. Contesting these writings, practices and politics, the authors foreground feminist traditions and contributions to the field, offering alternative modes of knowledge production, and a radically different, poetic writing style. Through this prism, Furious brings into focus themes including the automation of home and domestic work, the Anthropocene, and intersectional feminist technofutures.