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"White Wedding by Kathleen J. Woods is a novel in which a woman shows up uninvited to a wedding. The uninvited guest exists in layers of sense and story, and through her tales, gives the other guests she meets-the caterer, the pregnant bride, the bride's stepsister, and other family-what they want, whether they like it or not"--
"Everybody loves a wedding, and in All Dressed in White, Carol McD. Wallace celebrates the delicious history and the eternal allure of our favorite rite of passage. In the past 150 years the wedding has gone from discreet private ceremony to elaborate public event, yet the fundamentals remain the same - weddings are the only social events in America where matters of money, sex, and class are brought to the fore. The growth of the middle class and the development of the popular media play a role in Wallace's tale, as does the eternal vision of The White Dress in its metamorphosis from gown to costume."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Sweet, gentle schoolteacher Natalie Brock's life changed forever when handsome rancher Mack Killain's masterful kisses gave her a tantalizing taste of love. Ever since that first awakening, Natalie knew Mack was the only man for her. Trouble was, the rough-edged loner had sworn off marriage—especially to an innocent like her—and told her so on more than one occasion. But Mack had taught her the best was worth fighting for...and Natalie would not settle for anything less than all his love!
In her final novel, “a beautiful and devastating examination of family, society and race” (The New York Times), Dorothy West offers an intimate glimpse into the Oval, a proud, insular community made up of the best and brightest of the East Coast's Black bourgeoisie on Martha’s Vineyard in the 1950s. Within this inner circle of "blue-vein society," we witness the prominent Coles family gather for the wedding of the loveliest daughter, Shelby, who could have chosen from "a whole area of eligible men of the right colors and the right professions." Instead, she has fallen in love with and is about to be married to Meade Wyler, a white jazz musician from New York. A shock wave breaks over the Oval as its longtime members grapple with the changing face of its community. With elegant, luminous prose, Dorothy West crowns her literary career by illustrating one family's struggle to break the shackles of race and class.
Offers a detailed cultural history of weddings in America from 1945 to 2000, exploring the political, social, economic, and demographic events that influenced the traditions and cost associated with weddings in the post-war years.
In As Long as We Both Shall Love, Karen M. Dunak provides a nuanced history of the American wedding and its celebrants. Blending an analysis of film, fiction, advertising, and prescriptive literature with personal views from letters, diaries, essays, and oral histories, Dunak demonstrates the ways in which the modern wedding epitomizes a diverse and consumerist culture and aims to reveal an ongoing debate about the power of peer culture, media, and the marketplace in America.
HE WAS HER SECRET LOVE… Sweet, gentle schoolteacher Natalie Brock's life changed forever when handsome rancher Mack Killain's masterful kisses gave her a tantalizing taste of love. Ever since that first awakening, Natalie knew Mack was the only man for her. Trouble was, the rough-edged loner had sworn off marriage—especially to an innocent like her—and told her so on more than one occasion. But Mack had taught her the best was worth fighting for…and Natalie would not settle for anything less than all his love!
Childhood friends Mackensie, Parker, Laurel and Emmaline have formed a very successful wedding planning business together but, despite helping thousands of happy couples to organise the biggest day of their lives, all four women are unlucky in love. Photographer Mackensie Elliot has suffered a tough childhood and has a bad relationship with her mother, which makes her wary of commitment. But when she meets Carter Maguire, she can't stop herself falling for him, although his ex-girlfriend is prepared to play dirty to keep him. Mackensie soon realises she has to put her past demons to rest in order to find lasting love . . .
This is a groundbreaking study of our culture's obsession with weddings. By examining popular films, commercials, magazines, advertising, television sitcoms and even children's toys, this book shows the pervasive influence of weddings in our culture and the important role they play in maintaining the romance of heterosexuality, the myth of white supremacy and the insatiable appetite of consumer capitalism. It examines how the economics and marketing of weddings have replaced the religious and moral view of marriage. This second edition includes many new and updated features including: full coverage of the wedding industrial complex; gay marriage and its relationship to white weddings and heterosexuality and demographics shifts as to who is marrying whom and why, nationally and internationally.
In The Wedding Complex Elizabeth Freeman explores the significance of the wedding ceremony by asking what the wedding becomes when you separate it from the idea of marriage. Freeman finds that weddings—as performances, fantasies, and rituals of transformation—are sites for imagining and enacting forms of social intimacy other than monogamous heterosexuality. Looking at the history of Anglo-American weddings and their depictions in American literature and popular culture from the antebellum era to the present, she reveals the cluster of queer desires at the heart of the "wedding complex"—longings not for marriage necessarily but for public forms of attachment, ceremony, pageantry, and celebration. Freeman draws on queer theory and social history to focus on a range of texts where weddings do not necessarily lead to legal marriage but instead reflect yearnings for intimate arrangements other than long-term, state-sanctioned, domestic couplehood. Beginning with a look at the debates over gay marriage, she proceeds to consider literary works by Nathaniel Hawthorne, William Faulkner, Carson McCullers, Vladimir Nabokov, and Edgar Allan Poe, along with such Hollywood films as Father of the Bride, The Graduate, and The Godfather. She also discusses less well-known texts such as Su Friedrich’s experimental film First Comes Love and the off-Broadway, interactive dinner play Tony ‘n’ Tina’s Wedding. Offering bold new ways to imagine attachment and belonging, and the public performance and recognition of social intimacy, The Wedding Complex is a major contribution to American studies, queer theory, and cultural studies.