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Five unique girls, one very big mission . . . Cat Dean, Queen of the Us Crew, is the social barometer of cool at Baywood High - well, that's what she thinks. So, imagine the fireworks when she's forced to work with her nemesis, the righteously right-on Mand Hospock, numero uno geek girl Wanda Hong, privileged princess Corabelle Askew and Ms Invisible Maggie Jones, to create a magazine for half of their Year 10 English mark.Identity, values and aspirations are all called into question as the five girls discover their true talents and the courage to speak out on serious issues like body image, relationships and empty celebrity.Add to the mix their dysfunctional families, a couple of 80s popstars, the world's best virtual-reality machine, a wedding, a formal, lots of hot boys and a whole load of laughs, and you've got yourself an inspirational, modern-day adventure.
Fags, Hags and Queer Sisters is a provocative account of the importance of women and cross-gender identification in gay male culture. It offers a range of cultural readings from Tennessee William's classic A Streetcar Named Desire and Forster's 'gay' novel Maurice through Pulp Fiction , queer lifestyle magazines, Roseanne , slash fan fiction and Jarman's Edward II to Almodovar's camp classic Women on the Verge of a Nervous Breakdown . Theoretically sophisticated, yet passionate, accessible and opinionated, Fags, Hags and Queer Sisters takes issue with many of the sacred cows of contemporary gay politics, and offers a number of new concepts in lesbian and gay theory.
What would you write if no one knew who you were? In the spirit of the demolition derby, where drivers take heedless risks with reckless abandon, welcome to the first convocation of the Secret Society of Demolition Writers. Here is a one-of-a-kind collection by famous authors writing anonymously–and dangerously. With the usual concerns about reputations and renown cast aside, these twelve daredevils have each contributed an extreme, no-holds-barred unsigned story, each shining as brightly and urgently as hazard lights. Unconventional and unapologetic, this publishing equivalent of a whodunit features an eclectic group of fictional characters, including a delusional schizophrenic narrator, an egg donor with second thoughts about her decision, a pharmacist who forms a weird crush on a woman who beat both of her parents to death, and a little girl who understands that an old safe is the threshold to another, ghostly, world. Equally diverse and surprising are the authors themselves: Aimee Bender, Benjamin Cheever, Michael Connelly, Sebastian Junger, Elizabeth McCracken, Rosie O’Donnell, Chris Offutt, Anna Quindlen, John Burnham Schwartz, Alice Sebold, Lauren Slater, and Marc Parent, the editor of the collection. Never before has such a wide-ranging and talented group of authors been assembled to such explosive and entertaining effect. The Secret Society of Demolition Writers is an intriguing puzzle in itself, but it’s also an important addition to the careers of some of our finest storytellers–even if we never really know who wrote what. Its boundary-smashing fiction offers exhilarating proof that for an artist, withholding your identity can mean gaining your freedom.
A cultural history of the customs, fashions, and figures of gay life in the twentieth and the early twenty-first centuries-and how they have changed us for the better. How the Homosexuals Saved Civilization presents a broad yet incisive look at how an unusual "immigrant" group, homosexual men, has influenced mainstream American society and has, in many ways, become mainstream itself. From the way camp, irony, and the gay aesthetic have become part of our national sensibility to the undeniable effect the gay cognoscenti have had on media and the arts, Cathy Crimmins examines how gay men have changed the concepts of community, family, sex, and fashion.
There are three books of 'abstract poems' in this unusual project, which might better be described as 'word art', and they are of a character that defies intellectual intelligibility and invites a certain contemplative frame-of-mind more conducive to spirituality and, hence, to self-transcendence, meaning, in this instance, the transcendence of that fulcrum of intellect, the ego. In that sense, these 'poems' are profoundly anti-literary and correspondingly closer to the true spirit of art.
CONTEMPLATIVE ABSTRACTS is the logical sequel to 'Abstacts' (1983) which, being readerly, or capable of being read, was non-contemplative and therefore a precondition of abstract poems that require only to be contemplated, since effectively a species of word art. The five books in this project represent different stages in John O'Loughlin's development of a non-readerly, or contemplative, style of poetic composition, and have also been published separately under the headings 'Contemplations' (1985), 'Supercontemplations' (1993) and 'Ultracontemplations' (1994), the first of these being in three books and therefore containing the greater percentage of the material now available in one volume, as the collected contemplative abstract poems.