Over the course of its seven-year run, Buffy the Vampire Slayer cultivated a loyal fandom and featured a strong, complex female lead, at a time when such a character was a rarity. Evan Ross Katz explores the show's cultural relevance through a book that is part oral history, part celebration, and part memoir of a very personal fandom that has universal resonance still, decades later. Katz--with the help of the show's cast, creators, and crew--reveals that although Buffy contributed to important conversations about gender, sexuality, and feminism, it was not free of internal strife, controversy, and shortcomings. Men--both on screen and off--would taint its reputation as a feminist masterpiece, and changing networks, amongst other factors, would drastically change the show's tone. Katz addresses these issues and more, including interviews with stars Sarah Michelle Gellar, Charisma Carpenter, Emma Caulfield, Amber Benson, James Marsters, Anthony Stewart Head, Seth Green, Marc Blucas, Nicholas Brendon, Danny Strong, Tom Lenk, Bianca Lawson, Julie Benz, Clare Kramer, K. Todd Freeman, Sharon Ferguson; and writers Douglas Petrie, Jane Espenson and Drew Z. Greenberg; as well as conversations with Buffy fanatics and friends of the cast including Stacey Abrams, Cynthia Erivo, Lee Pace, Claire Saffitz, Tavi Gevinson, and Selma Blair. Into Every Generation a Slayer Is Born engages with the very notion of fandom, and the ways a show like Buffy can influence not only how we see the world but how we exist within it.

    It took her more than a decade to realize what she was actually trying to write: how this affected her relationship with her mother. When it was finally published, the essay went viral, shared on social media by Anne Lamott, Rebecca Solnit, and many others. The outpouring of responses gave Filgate an idea, and the resulting anthology offers a candid look at our relationships with our mothers. While some of the writers in this book are estranged from their mothers, others are extremely close. Leslie Jamison writes about trying to discover who her seemingly perfect mother was before ever becoming a mom. In Cathi Hanauer’s hilarious piece, she finally gets a chance to have a conversation with her mother that isn’t interrupted by her domineering (but lovable) father. André Aciman writes about what it was like to have a deaf mother. Melissa Febos uses mythology as a lens to look at her close-knit relationship with her psychotherapist mother. And Julianna Baggott talks about having a mom who tells her everything. As Filgate writes, “Our mothers are our first homes, and that’s why we’re always trying to return to them.” There’s relief in breaking the silence. Acknowledging what we couldn’t say for so long is one way to heal our relationships with others and, perhaps most important, with ourselves. Contributors include Cathi Hanauer, Melissa Febos, Alexander Chee, Dylan Landis, Bernice L. McFadden, Julianna Baggott, Lynn Steger Strong, Kiese Laymon, Carmen Maria Machado, André Aciman, Sari Botton, Nayomi Munaweera, Brandon Taylor, and Leslie Jamison.

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    His journals reveal an artist who loved music, who knew the history of rock, and who was determined to define his place in that history. Here is a mesmerizing, incomparable portrait of the most influential musician of his time.

    Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics.The book opens with the influential theoretical works of Linda Williams, Carol J. Clover, and Barbara Creed. Subsequent essays explore the history of the genre, from classic horror such as King Kong and Bride of Frankenstein to the more recent Fatal Attraction and Bram Stoker's Dracula. Other topics covered include the work of horror auteurs David Cronenberg, Dario Argento, and George Romero; the Aliens trilogy; and the importance of gender in relation to horror marketing and reception.Other contributors include Vera Dika, Thomas Doherty, Lucy Fischer, Christopher Sharrett, Vivian Sobchack, Tony Williams, and Robin Wood. Writing across a full range of critical methods from classic psychoanalysis to feminism and postmodernism, they balance theoretical generalizations with close readings of films and discussions of figures associated with the genre.The Dread of Difference demonstrates that horror is hardly a uniformly masculine discourse. As these essays persuasively show, not only are horror movies about patriarchy and its fear of the feminine, but they also offer feminist critique and pleasure.

    Now imagine that friend is David Bowie. Three years before he died, Rock & Roll Hall of Famer and Grammy Lifetime Achievement Award-winning artist David Bowie shared a list of the hundred books that changed his life—a wide-ranging and eclectic selection that spans beloved classics like F. Scott Fitzgerald’s The Great Gatsby and George Orwell’s 1984, to more esoteric gems like Fran Lebowitz’s Metropolitan Life and Hubert Selby Jr.’s Last Exit to Brooklyn, and even cult comic strips like Beano and Raw.Bowie’s Bookshelf celebrates each of Bowie’s favorite books with a dedicated mini-essay, exploring each work within the context of Bowie’s life and its role in shaping one of the most versatile, avant-garde, and cutting-edge musicians of the twentieth century. A fresh approach to celebrating the enduring legacy of David Bowie, Bowie’s Bookshelf is a resounding tribute to the power art has to change our lives for the better.