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Olivia Michaels knew she was embarking on an adventure when she moved to San Francisco, but she had no idea her address would label her a social pariah commonly referred to as a Marina girl. The Marina girl is a stereotype of a preppy, generic young woman who lives in the tiny neighborhood known as the Marina. You need to know about the history of the Marina to understand how and why the Marina girl developed into the albatross of San Francisco. After the 1906 earthquake, the city pushed all the ashes and rubble north down the steep hills of Pacific Heights, creating a landfill adjacent to a former pasture that later became the Cow Hollow neighborhood. Hundreds of Mediterranean-style homes were constructed in the 1920s on land that jiggled better than Bill Cosbys Jell-O when the 1989 earthquake hit. Most of the longtime residents moved away, leaving yuppie youngsters, perhaps less aware of their own mortality, to take over the neighborhood. Twenty years later, the Marina is the playground for San Franciscos worst nightmare, otherwise known as the Marina girl.
"I have to say that I had to calm down at the ending!!! This is an exceptional story! Penelope Fletcher is fearless. The world building is unparalleled. This is her best book by far and I loved all of the others. The love triangle is engrossing but it is clear who it has to be and I am rooting for that one!! I have to say I generally do not go for stories with triangles but her writing is so good she had me from the moment the Dragon exploded!" ~ Linda, US Wounded, a dragon drops from the sky to crash in front of Marina in an explosion of fire. She does the only reasonable thing a woman can do - she saves his life. Marina knows any moment may be her last, yet she cannot deny the connection between her and the alluring creature. When fierce dragon lords appear and lead a dangerous assassin to their hiding place, the truth about her dragon is unveiled. The consequences of falling for a creature gifts Marina wonders never before seen in this world. Fantasy romance with dragon shapeshifters.
Intro -- Title Page -- Copyright -- Dedication -- Contents -- Author's Note -- Foreword by Ann Magnuson -- Introduction -- Essays ¡Feminista! By Alice Bag -- Neo Boys Liner Notes by Suzi Creamcheese -- 1. Midwest: Hit Girls, Haute Girls -- Destroy All Monsters -- The Welders -- Nikki & -- the Corvettes -- Flirt -- Chi-Pig -- DA! -- The Shivvers -- The Waitresses -- Bitch -- The Dadistics -- The Cubes -- Unit 5 -- Ama-Dots -- The Dents -- Kate Fagan -- Algebra Suicide -- Dummy Club -- 2. South: Feast on My Heart -- Pylon -- Cichlids -- The Klitz -- The Delinquents -- Mydolls -- Screaming Sneakers -- The Cold -- F-Systems -- Teddy and the Frat Girls -- The Foams -- 3. Northwest: Guys Are Not Proud -- The Dishrags -- Chinas Comidas -- The Accident -- Neo Boys -- The Anemic Boyfriends -- Sado-Nation -- Art Object -- The Braphsmears -- The Visible Targets -- Bam Bam -- 4. West Coast (South): Manic in a Panic -- Backstage Pass -- The Bags -- The Controllers -- Castration Squad -- The Alley Cats -- The Eyes -- Suburban Lawns -- The Dinettes -- The Brat -- 45 Grave -- Tex & -- the Horseheads -- Sin 34 -- The Pandoras -- Screamin' Sirens -- 5. West Coast (North): Shake the Hands of Time -- Mary Monday -- The Nuns -- The Avengers -- The Blowdryers -- The Urge -- VS -- VKTMS -- U.X.A. -- IXNA -- Los Microwaves -- Romeo Void -- The Contractions -- Inflatable Boy Clams -- Wilma -- Frightwig -- 6. East Coast: Subversive Pleasure -- Jayne County -- Mars -- The Phantoms -- Helen Wheels Band -- 'B' Girls -- Teenage Jesus & -- the Jerks -- Cheap Perfume -- DNA -- Nasty Facts -- UT -- ESG -- Plasmatics -- Tiny Desk Unit -- Disturbed Furniture -- Bush Tetras -- Y Pants -- Egoslavia -- Dizzy and the Romilars -- Chalk Circle -- The Excuses -- Red C -- The Bloods -- Pulsallama -- IN MEMORIUM -- AUTHOR'S ACKNOWLEDGMENTS -- CITATIONS -- INDEX.
Marina has spent most of her adult life on a diet. And although big girls aren't supposed to cry, in Marina's experience, they don't have much fun either. But when scientist David Sandhurst invites her to enrol in a test for a miracle weight-loss drug, Marina thinks her prayers have been answered. Soon enough, Marina discovers that she's losing those excess pounds and gaining confidence. She's waving goodbye to her hips and hello to an exciting social life - and a whole new set of problems . . .
In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.
The author of the “unforgettable story of strength, love, and survival” (Jillian Cantor, USA TODAY bestselling author) The Light After the War returns with a sweeping and evocative story of love and purpose in WWII Italy. Rome, 1943: University student Marina Tozzi is on her way home when she finds out that her father has been killed for harboring a Jewish artist in their home. Fearful of the consequences, Marina flees to Villa I Tatti, the Florence villa of her father’s American friend Bernard Berenson and his partner Belle da Costa Greene, the famed librarian who once curated J.P. Morgan’s library. Florence is a hotbed of activity as partisans and Germans fight for control of the city. Marina, an art expert, begins helping Bernard catalog his library as he makes the difficult trek to neutral Switzerland, helping to hide precious cultural artifacts from the Germans. Adding to the tension, their young neighbor Carlos, a partisan, seeks out Marina for both her art expertise and her charm. Marina, swept up in the romance, dreams of a life together after the war. But when Carlos disappears, all of Marina’s assumptions about her life in Florence are thrown into doubt, and she’ll have to travel halfway around the world to unravel what really happened during the war.
Silent Dancing is a personal narrative made up of Judith Ortiz CoferÍs recollections of the bilingual-bicultural childhood which forged her personality as a writer and artist. The daughter of a Navy man, Ortiz Cofer was born in Puerto Rico and spent her childhood shuttling between the small island of her birth and New Jersey. In fluid, clear, incisive prose, as well as in the poems she includes to highlight the major themes, Ortiz Cofer has added an important chapter to autobiography, Hispanic American Creativity and womenÍs literature. Silent Dancing has been awarded the 1991 PEN/Martha Albrand Special Citation for Nonfiction and has been selected for The New York Public LibraryÍs 1991 Best Books for the Teen Age.