Bad television--predictable, commercial, exploitative--simply yields to the forces. Good television, like the character of Buffy the Vampire Slayer, fights them. Fighting the Forces explores the struggle to create meaning in an impressive example of popular culture, the television series phenomenon Buffy the Vampire Slayer. In the essays collected here, contributors examine the series using a variety of techniques and viewpoints. They analyze the social and cultural issues implicit in the series and place it in its literary context, not only by examining its literary influences (from German liebestod to Huckleberry Finn) but also by exploring the series' purposeful literary allusions. Furthermore, the book explores the extratextual, such as fanfiction and online discussion groups. The book is additionally supplemented by an online journal Slayage (www.slayage.tv), created by the book editors in acknowledgement of the ongoing nature of television art. Rhonda V. Wilcox and David Lavery have written and edited several books and articles exploring the social, literary, and artistic merit of quality television. In addition to Buffy the Vampire Slayer, their work has covered a variety of programs including Twin Peaks, Northern Exposure, The X-Files, and The Sopranos.

    In addition to readings from well-known authors in the field, this edition includes pieces from contemporary scholars breaking new ground in superordinate studies. Seventeen carefully selected essays explore the multifaceted aspects of privilege: how race, gender, class, and sexual preference interact in the lives of those who are privileged by one or more of these identities. Written from a variety of viewpoints, personal and analytic, the essays in this volume help students understand that “race” can mean white people, “gender” can mean men, and “sexuality” can mean heterosexuals.I. MAKING PRIVILEGE VISIBLE1. McIntosh, Peggy. “White Privilege and Male Privilege.”2. Woods, Jewel.“Black Male Privilege.” *3. Larew, John, “Why are Droves of Unqualified, Unprepared Kids Getting Into our Top Colleges?”4. Dunbar-Ortiz, Roxanne. “On Being Okie.”5. Messner, Michael A. “Becoming 100% Straight” 6. Rochlin, M. “The Heterosexual Questionnaire.” II. UNDERSTANDING PRIVILEGE7. Johnson, Allan. “Privilege Power and Difference and Us,” from Privilege Power and Difference.*8. Brodkin Sacks, Karen. “How Jews Became White”9. Kimmel, Michael S. “Masculinity as Homophobia.” 10. Wise, Tim. “Anti-Racist Reflections From an Angry White Male.” *11. Kendall, Diana. “Class in the United States: Not Only Alive but Reproducing.” *III. EXAMINING INTERSECTIONS12. Redding, Maureen T. “Invisibility/Hypervisibility: The Paradox of Normative Whiteness.” *13. hooks, bell. “Class and Race: The New Black Elite.”14. Bérubé, Allan. “How Gay Stays White and What Kind of White it Stays.”IV. MOVING FORWARD15. Thompson, Becky. “Subverting Racism From Within.”16. Hill Collins, Patricia. “Toward a New Vision.” 17.Ferber, Abby. “Dismantling Privilege and Becoming an Ally.” *

    Molly Malone Cook, who died in 2005, was Oliver's partner for many years, a pioneer gallery owner and photographer. Our World weaves forty-nine of Cook's photographs and selections from her journals with Oliver's extended writings, both reminiscence and reflection, in prose and in poetry. The result is an intimate revelation of their lives and art.Within the art world, Molly Malone Cook made her reputation as an early advocate of photography as an art form; she was a champion of the work of now-famous photographers, including Edward Steichen, Eugene Atget, Berenice Abbott, Minor White, Ansel Adams, Harry Callahan, and W. Eugene Smith. There are famous faces here as well, captured by Cook's camera, among them Walker Evans, Robert Motherwell and Henry Geldzahler, the first curator of twentieth-century art at the Metropolitan Museum.Cook and Oliver also lived among writers, and Cook caught several on film, including Lorraine Hansberry and Norman Mailer. Other artists and dozens of wonderful characters and scenes are also immortalized by Cook's unfailing eye for telling detail and composition. Oliver writes of Cook's work, the people they knew, and the places they visited or lived. The poet's beautiful text captures not only the vivifying qualities of her partner's work, but the texture of their shared world. In Mary Oliver's words, Cook taught the beginner poet "to see, with searching attention and compassion."