Greenfield's photographs are paired with extensive interviews and journal entries from twenty girls and women who are suffering from various afflictions. We meet 15-year-old Brittany, who is convinced that being thin is the only way to gain acceptance among her peers; Alisa, a divorced mother of two whose hatred of her body is manifested in her relentless compulsion to purge; Shelly, who has been battling anorexia for six years and has had a feeding tube surgically implanted in her stomach; as well as many others. Alongside these personal stories are essays on the sociology and science of eating disorders by renowned researchers Joan Jacobs Brumberg, Dr. David Herzog, and Dr. Michael Strober. These intimate photographs, frank voices, and thoughtful discussions combine to make Thin not only the first book of its kind but also a portrait of profound understanding.

    With wit and insight, Dyhouse conducts a dazzling tour of the history and meaning of costume, cosmetics, perfume, and fur; and disentangles some of the arguments surrounding femininity, appearance and power; and directly addresses feminist concerns. As Dyhouse shows with style and flair, glamour as an expression of desire and entitlement in women can’t simply be dismissed as an oppressive, or subjective male fantasy, but carries celebratory and liberating meanings for women.

    Illustrated.

    Both conceptual and haunted, these poems explore the asymmetry of the body's chemistry and its effects on expression and form. The poems in Threshold Songs tune us to the microtonal music of speaking and being spoken.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    This deeply-felt memoir is the story of a woman who defied repressive 1950s conventions while being shaped by the notable men in her life.Born into privilege in San Francisco as the children of famous attorney Bartley Crum and novelist Gertrude, Patricia and her brother Bart Jr. lead charmed lives until their father’s career is ruined when he defends the Hollywood Ten. The family moves to New York, suffering greater tragedy when Bart Jr. kills himself. However, his loving spirit continues to influence Patricia as she fights to succeed as an actress and writer.Married and divorced from an abusive husband before she’s twenty, she joins the Actors Studio. She takes classes with Lee Strasberg alongside Marilyn Monroe, Paul Newman, and others; she works on Broadway opposite Paul Muni, Helen Hayes, and Elaine Stritch; Gore Vidal and Elia Kazan become her mentors. Her anecdotes of theatre’s Golden Age have never been told before. At the zenith of her career, about to film The Nun’s Story with Audrey Hepburn, Patricia faces a decision that changes her forever.The Men in My Life is about survival, achieving your goals, and learning to love. It’s also the story of America’s most culturally pivotal era, told through the lens of one insider’s extraordinary life.

    But on her first day of ballet class, she suffers a panic attack and makes a horrifying discovery. She's terrified of dancing in front of the other kids, and as for actually performing for an audience? Forget it. Yet Jenny refuses to give up her dream. With determination and a little ingenuity, she finds ways to observe ballet classes without actually participating. She trains in the safety of her room, while hiding the truth from her parents. Then Jenny meets her exact opposite: Ara Reyes, an outgoing, spontaneous, and accident-prone girl who loves dancing but has always been overlooked.The girls' friendship blossoms as they help each other uncover their real talents. Ara's dancing takes a leap forward and Jenny discovers she has an amazing gift for choreography. With the support of the school's newest teacher, Jenny's original ballet might just make it on stage ... but will she?Charming and inspiring, "Dancing on the Inside" shows how pursuing our passions can often lead to wonderful and unexpected results.

     Michaela DePrince was known as girl Number 27 at the orphanage, where she was abandoned at a young age and tormented as a "devil child" for a skin condition that makes her skin appear spotted. But it was at the orphanage that Michaela would find a picture of a beautiful ballerina en pointe that would help change the course of her life. At the age of four, Michaela was adopted by an American family, who encouraged her love of dancing and enrolled her in classes. She went on to study at the Jacqueline Kennedy Onassis School at the American Ballet Theatre and is currently a member of the Dutch National Ballet’s junior company. She has appeared in the ballet documentary "First Position," as well as on "Dancing with the Stars, Good Morning America," and "Nightline." In this engaging, moving, and unforgettable memoir, Michaela shares her dramatic journey from an orphan in West Africa to becoming one of ballet's most exciting rising stars.

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    Featuring 15 step-by-step projects for creating clay fairies, gnomes, trolls, and other enchanting figures, this beautiful instructional book shows readershow to create an entire fantasy land.

    Making remarkable connections across brain function, myth, and anthropology, Dr. Shlain shows why pre-literate cultures were principally informed by holistic, right-brain modes that venerated the Goddess, images, and feminine values. Writing drove cultures toward linear left-brain thinking and this shift upset the balance between men and women, initiating the decline of the feminine and ushering in patriarchal rule. Examining the cultures of the Israelites, Greeks, Christians, and Muslims, Shlain reinterprets ancient myths and parables in light of his theory. Provocative and inspiring, this book is a paradigm-shattering work that will transform your view of history and the mind.

    This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.

    --Alexander Chee Twenty years in the making, Sarah Schulman's Let the Record Show is the most comprehensive political history ever assembled of ACT UP and American AIDS activism In just six years, ACT UP, New York, a broad and unlikely coalition of activists from all races, genders, sexualities, and backgrounds, changed the world. Armed with rancor, desperation, intelligence, and creativity, it took on the AIDS crisis with an indefatigable, ingenious, and multifaceted attack on the corporations, institutions, governments, and individuals who stood in the way of AIDS treatment for all. They stormed the FDA and NIH in Washington, DC, and started needle exchange programs in New York; they took over Grand Central Terminal and fought to change the legal definition of AIDS to include women; they transformed the American insurance industry, weaponized art and advertising to push their agenda, and battled--and beat--The New York Times, the Catholic Church, and the pharmaceutical industry. Their activism, in its complex and intersectional power, transformed the lives of people with AIDS and the bigoted society that had abandoned them.Based on more than two hundred interviews with ACT UP members and rich with lessons for today's activists, Let the Record Show is a revelatory exploration--and long-overdue reassessment--of the coalition's inner workings, conflicts, achievements, and ultimate fracture. Schulman, one of the most revered queer writers and thinkers of her generation, explores the how and the why, examining, with her characteristic rigor and bite, how a group of desperate outcasts changed America forever, and in the process created a livable future for generations of people across the world.

    She possessed a great gift for revealing emotion through dance, expressing beliefs and telling stories in an utterly new way. Newbery Medalist Russell Freedman documents Martha Graham's life from her birth in 1894 to her final dance performance at the age of seventy-five and continued career as a choreographer until her death in 1991. Graham's own recollections as well as those of her dancers, students, friends, and lovers reveal Graham's unwavering dedication, her extraordinary sense of artistry, and the fierce intensity that left an impression on all who saw her perform. Original research based on interviews and a remarkable collection of photographs not widely reproduced give this biography a rare and unparalleled depth. Includes notes,a bibliography, and an index.