Its graphic depictions of sex, violence, and drug abuse in the youth culture of Oklahoma were acclaimed by critics for stripping bare the myth that Middle America had been immune to the social convulsions that rocked America in the 1960s. The raw, haunting images taken in 1963, 1968, and 1971 document a youth culture progressively overwhelmed by self-destruction -- and are as moving and disturbing today as when they first appeared. Originally published in a limited paperback version and republished in 1983 as a limited hardcover edition commissioned by the author, rare-book dealers sell copies of this book for more than a thousand dollars. Now in both hardcover and paperback editions from Grove Press, this seminal work of photographic art and social history is once again available to the general public.

    Anticipating the expanded edition, Feral House placed Voluptuous Panic out of print, and for the past year buyers paid as much as $460 to online sellers for a used copy.This sourcebook of hundreds of rare visual delights from pre-Nazi, Cabaret-period “Babylon on the Spree” has the distinction of being praised both by scholars and avatars of contemporary culture, inspiring hip clubgoers, filmmakers, gay historians, graphic designers, and musicians like the Dresden Dolls and Marilyn Manson.Voluptuous Panic’s expanded edition includes the new illustrated chapter, “Sex Magic and the Occult,” documenting German pagan cults and their bizarre erotic rituals, including instructions for entering into the “Sexual Fourth Dimension.” The deluxe hardcover edition also includes sensational accounts of hypno-erotic cabaret acts, Berlin Fetish prostitution (“The Boot Girl Visit”), gay life (“A Wild-Boy Initiation!”), descriptions and illustrations of Aleister Crowley’s Berlin OTO Secret Society, and sex crime (“the Curious Career and Untimely Death of Fritz Ulbrich”).

    Back-braced, isolated, and teased in adolescence, and ambivalent about her Catholic upbringing, Garza found a secret solace in masturbation and porn--first by way of the limited softcore viewing offered by late-night cable, and, later, with the booming proliferation of online porn.In this wrenching, vivid account, Garza explores her sexual fixations and relives the series of disastrous relationships and one-night stands that haunt her as she runs from one side of the world to the other in a futile attempt to break free of her habits―from East Los Angeles to Hawaii and Southeast Asia, through the brothels of Bangkok and the yoga studios of Bali to disappointing stabs at twelve-steps, therapy, and rehab back home.Garza's terror at digging so deeply into her history to understand her anxieties is palpable, as is her exhilaration when she begins to believe she might just be free of them. And yet there is no false hope or prepackaged sense of redemption. Even her relationship to the man she will ultimately marry is credibly rocky as it finds its legs with several false starts, making her increasing sense of self-acceptance and peace by journey's end feel utterly earned.In exploring the cultural taboos surrounding sex and porn from a female perspective, Garza offers a brave and necessary voice to our evolving conversations about addiction and the impact that Internet culture has had on young women.

    Shows how to create abstract paintings within the rules of realism through a list of tools and materials, lessons on applying traditional elements to abstract art, and projects with instructions and color illustrations.

    Using the format of an end-of-term play, the new drama teacher's progress through two terms of recalcitrant classes, synical colleagues and obstructive caretakers is reviewed. Disillutioned, he departs for a safer private school.

    More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.

    While providing a fascinating look at the course of gay consciousness over the past fifty years, it also, most enthrallingly, offers the best sexually arousing fiction centering on gay men.Featuring two original tales by Anne Rice, this elegantly written collection also includes such literary luminaries as Edmund White and Alan Hollinghurst, and such legendary cult figures as Larry Townsend and Pat Califia. The stories here range from the nonphysical but highly charged "Brian's Bedroom" by Leigh Rutledge, to the famous, boundary pushing story "Blue Light" by Aaron Travis - a fantasic, haunting piece that explores reversal, compulsion, domination, and otherness in a Texas boarding house. But whether an understated gem or an unforgettable, flamboyant display of sexuality, each of these works has a power of its own, while editor John Preston's commentary places them all in context. This collection of short fiction and nonfiction is for both gay and straight readers who enjoy masterully written erotica. It is at once a cross-section of fine erotic writing, a chronical of gay male sexuality and its growing influence on the culture at large, and an imporatnt addiction to gay literature.Contents:Correspondence with George Platt Lynes by Samuel M. StewardThe sergeant with the rose tattoo by Samuel M. Steward writing as Phil AndrosFrom 'Cruising horny corners' by "Clay Caldwell" writing as Lance LesterWorkout by Roy F. WoodPeekers by T.R. Witomski writing as Ray WaldheimThey call me "Horsemeat" by D.V. Sadero writing as Rick LaneA cowboy Christmas by Lars EighnerThe shirt by Robin MetcalfeNegative image by Michael Lassell writing as Michael LewisBrian's bedroom by Leigh RutledgeBlue light by Steven Saylor writing as Aaron TravisGetting Timchenko by Steven Saylor writing as Aaron TravisBelonging by Pat CalifiaElliott : the garden and the bar by Anne RiceElliott : below stairs by Anne RiceFrom 'Run little leather boy' by Larry Townsend"Malory's big brother" from 'The green hotel stories by Gordon HobanFrom 'A boy's own story' by Edmund WhiteFrom 'The beautiful room is empty' by Edmund White"The Brutus cinema" from 'The swimming pool-library' by Alan Hollinghurst"Mmmmpfgh" by Andrew HolleranThinking off by Scott O'Hara writing as SpunkSafe sex without condoms by John WagenhauserSoggy Biscuit by Barry LoweThe reality of a dream by W. Delon StrodeThe group by John Wagenhauser writing as WolfgangGood with words by Stephen Greco

    In Girl Culture, she combines a photojournalists sense of story with fine-art composition and color to create an astonishing and intelligent exploration of American girls. Her photographs provide a window into the secret worlds of girls social lives and private rituals, the dressing room and locker room, as well as the iconic subcultures of the popular clique: cheerleaders, showgirls, strippers, debutantes, actresses, and models. With 100 hypnotic photographs, 20 interviews with the subjects, and an introduction by foremost historian of American girlhood Joan Jacobs Brumberg, Greenfield reveals the exhibitionist nature of modern femininity and how far it has drifted from the feminine ideologies of the past.

    Such is the case with Coco Chanel, whose life offers one of the most fascinating tales of the twentieth century—throwing into dramatic relief an era of war, fashion, ardent nationalism, and earth-shaking change—here brilliantly treated, for the first time, with wide-ranging and incisive historical scrutiny.Coco Chanel transformed forever the way women dressed. Her influence remains so pervasive that to this day we can see her afterimage a dozen times while just walking down a single street: in all the little black dresses, flat shoes, costume jewelry, cardigan sweaters, and tortoiseshell eyeglasses on women of every age and background. A bottle of Chanel No. 5 perfume is sold every three seconds. Arguably, no other individual has had a deeper impact on the visual aesthetic of the world. But how did a poor orphan become a global icon of both luxury and everyday style? How did she develop such vast, undying influence? And what does our ongoing love of all things Chanel tell us about ourselves? These are the mysteries that Rhonda K. Garelick unravels in Mademoiselle.Raised in rural poverty and orphaned early, the young Chanel supported herself as best she could. Then, as an uneducated nineteen-year-old café singer, she attracted the attention of a wealthy and powerful admirer and parlayed his support into her own hat design business. For the rest of Chanel’s life, the professional, personal, and political were interwoven; her lovers included diplomat Boy Capel; composer Igor Stravinsky; Romanov heir Grand Duke Dmitri; Hugh Grosvenor, the Duke of Westminster; poet Pierre Reverdy; a Nazi officer; and several women as well. For all that, she was profoundly alone, her romantic life relentlessly plagued by abandonment and tragedy.Chanel’s ambitions and accomplishments were unparalleled. Her hat shop evolved into a clothing empire. She became a noted theatrical and film costume designer, collaborating with the likes of Pablo Picasso, Jean Cocteau, and Luchino Visconti. The genius of Coco Chanel, Garelick shows, lay in the way she absorbed the zeitgeist, reflecting it back to the world in her designs and in what Garelick calls “wearable personality”—the irresistible and contagious style infused with both world history and Chanel’s nearly unbelievable life saga. By age forty, Chanel had become a multimillionaire and a household name, and her Chanel Corporation is still the highest-earning privately owned luxury goods manufacturer in the world. In Mademoiselle, Garelick delivers the most probing, well-researched, and insightful biography to date on this seemingly familiar but endlessly surprising figure—a work that is truly both a heady intellectual study and a literary page-turner.

    The standardized menu for the The Cheesecake Factory restaurant chain.

    Hailed as “an essential book for those seeking self-love,” this heartfelt anthology lends voice to the heartbreak and healing of our soul’s quest to reunite with whom we always hoped we could be—ourselves.

    It explores the use of art to survive abuse, incest, madness and depression, and the often deep-seated impulse toward self-destruction including cutting, eating disorders, and addiction. Here, some of our most compelling cartoonists, novelists, poets, dancers, playwrights, and burlesque performers traverse the pains and passions that can both motivate and destroy women artists, and mark a path for survival. Taken together, these artful reflections offer an honest and hopeful journey through a woman's silent rage, through the power inherent in struggles with destruction, and the ensuing possibilities of transforming that burning force into the external release of art. With contributions by Nan Goldin, bell hooks, Patricia Smith, Cristy C. Road, Carol Queen, Annie Sprinkle, Elizabeth Stephens, Carolyn Gage, Eileen Myles, Fly, Diane DiMassa, Bonfire Madigan Shive, Inga Muscio, Kate Bornstein, Toni Blackman, Nicole Blackman, Silas Howard, Daphne Gottleib, and Stephanie Howell.

    Getting so tall and mature. Why, you can barely recognize yourself from just a few short months ago-back when you were so young. Your body is changing. Changes can be scary. Especially for girls, and, gosh, it can be confusing." Nope. No way. That's not this book. This is NOT your mother's coming-of-age manual. In the comedic likes of Chelsea Handler, author Jen Ashton breaks sex-education tradition and begins her hilariously endearing journey to womanhood with stories of growing up a tomboy in Middle America, circa the 1980's. Packed with iconic pop culture, nostalgic geekery, and a healthy dose of self-deprecation, Ashton foregoes the conventional route of learning how to be a lady and dives right in, enlisting the help of Cosmo, Hustler and her anal-loving housekeeper. Forget dancing around the dutiful explanations passed on from generation to generation-tales of 'the red curse' and 'your changing body.' Ashton's rites of passage are chock-full of unique life lessons learned the extracurricular way. From bodily functions to breast enlargement, pregnancy prevention to purgatory, learn the real facts of life as only she can describe them. If you're lucky, you might even discover the answer to the age-old question: Do Girls Poop? If you thought your journey through puberty was rough, be prepared to finally feel normal. Girls Don't Poop is a jaw-dropping, side-splitting adventure of one clueless tomboy's quest to figure out women, so that she could inevitably become one.

    And it's little wonder why. The story follows infiltration expert Solid Snake as he attempts to save the world.In addition to showcasing art from Ashley Wood's graphic novel adaptations of Metal Gear Solid and Metal Gear Solid: Sons of Liberty, this all-new collection features the work Ash did for the Metal Gear Solid: Mobile Portable Ops video game.

    Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.