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Fast Cars and Bad Girls: Nomadic Subjects and Women's Road Stories explores the road narratives of women and the various ways their work re-maps American space. Moving from Mary Rowlandson's famous captivity narrative to the frontier texts of the American West to the postapocalyptic novels of postmodern experience, Fast Cars and Bad Girls interrogates the intersections of nomadic theory and contemporary feminism. What would happen, the text queries the reader, if Jack Kerouac had gone on the road with a baby in the back seat? Women's road texts are different, insists author Deborah Paes de Barros; notions such as resistance to the West, the revision of the natural world, mother-daughter relationships, avant-garde angst, and feminist utopias construct this discussion of women travel writers.
David Perry, Foreword by Robt. Williams. For as long as young men have been channeling, chopping, and hopping up rods and customs, women - whether loyal girlfriends or trouble-seeking "bad girls" - have been an integral to their scene. In this unique portfolio evoking great 1950s pin-up artists like Vargas and Elvgren, talented photographer David Perry depicts models in and out of cherry-picked rods and customs wearing painstakingly chosen period dress and hairstyles. More than 100 photos present these modern-day pin-ups under three themes: Garage, Cruising, and Race. In addition, essays explore each topic and are also accompanied by pulp novel covers, period mags, and ads that place the photography in a historical context. Captions identify the car owners, photo location, and, where appropriate, interesting car specs and histories.
Drawing on interviews with over 100 young men and women, and five years of research, the author explores the fast-paced world of kids and their cars. She reveals a world where cars have incredible significance for kids, as a means of transportation and thereby freedom to come and go, as status symbols and as a means to express their identities.
A study of American women’s narratives of mobility and travel, this book examines how geographic movement opened up other movements or mobilities for antebellum women at a time of great national expansion. Concerned with issues of personal and national identity, the study demonstrates how women not only went out on the open road, but participated in public discussions of nationhood in the texts they wrote. Roberson examines a variety of narratives and subjects, including not only traditional travel narratives of voyages to the West or to foreign locales, but also the ways travel and movement figured in autobiography, spiritual, and political narratives, and domestic novels by women as they constructed their own politics of mobility. These narratives by such women as Margaret Fuller, Susan Warner, and Harriet Beecher Stowe destabilize the male-dominated stories of American travel and nation-building as women claimed the public road as a domain in which they belonged, bringing with them their own ideas about mobility, self, and nation. The many women’s stories of mobility also destabilize a singular view of women’s history and broaden our outlook on geographic movement and its repercussions for other movements. Looking at texts not usually labeled travel writing, like the domestic novel, brings to light social relations enacted on the road and the relation between story, location, and mobility.
Offers meaningful lessons for women who wonder if God loves them even if they have flaws, combining contemporary fiction and verse-by-verse commentary on the ancient stories of Sarah, Hagar, Rebekah, Leah, and Rachel.
Provides a modern retelling, the Biblical text, and historical background of the stories behind Bathsheba, Tamar, Athaliah, and other women portrayed with imperfect characteristics.
Suggests ideas for trips for women who love to drive, including unusual festivals and museums, things to do in a small town, and the best songs to listen to in the car.
Denied college, Beverly Donofrio lost interest in everything but riding around town in cars, drinking and smoking, and rebelling against authority. She got married and divorced and finally ended up in an elite New England university, books in one arm, child in the other. A book about the compromise between being your own person and fitting into society.
Since their introduction in 1964, American muscle cars have been closely associated with masculinity. In the 21st century, women have been a growing presence in the muscle car world, exhibiting classic cars at automotive events and rumbling to work in modern Mustangs, Camaros and Challengers. Informed by the experiences of 88 female auto enthusiasts, this book highlights women's admiration and passion for American muscle, and reveals how restoring, showing and driving classic and modern cars provides a means to challenge longstanding perceptions of women drivers and advance ideas of identity and gender equality.
Life in Ingrid Steffensen’s New Jersey suburb was safe, comfortable, and predictable. A college professor, wife, and mother of a preadolescent daughter, her carefully cultivated world was comprised of the usual suspects: family, work, book clubs, yoga classes, and date nights. Then, one day—thinking she’d be a good sport and maybe learn something about what made her car-crazed husband tick—she put a helmet on her head, took her Mini Cooper to the racetrack, and learned how to drive it really, really fast. Soon, what began as a whim became a full-blown obsession—and a freeing journey of self-discovery. In the eventful, exhilarating year that followed her first lesson, Steffenson dove head-first into high-performance driving. In the process, she discovered the terrifying and addictive thrill of pushing her limits, learning an entirely new set of skills, and tackling danger head-on—and found that doing so liberated her in a way that she hadn’t even known she needed. Fast-paced and fun, Fast Girl is the quirky, real-life chronicle of how one woman stepped outside her comfort zone, shrugged off the shackles of suburban conformity, and changed her entire perspective on life through the unlikeliest of means: racecar driving.