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Folk Gothic begins with the assertion that a significant part of what has been categorised as folk horror is more accurately and usefully labelled as Folk Gothic. Through the modifier 'folk', Folk Gothic obviously shares with folk horror its deployment (and frequent fabrication) of diegetic folklore. Folk Gothic does not share, however, folk horror's incarnate monsters, its forward impetus across spatial and ontological boundaries and the shock and repulsion elicited through its bodily violence. The author argues that the Folk Gothic as a literary, televisual and cinematic formation is defined by particular temporal and spatial structures that serve to forge distinctly nonhuman stories. In emphasising these temporal and spatial structures – not literal 'folk' and 'monsters' – the Folk Gothic tells stories that foreground land and 'things', consequently loosening the grip of anthropocentrism.

An expansive assemblage of historical sources recounts a public history written and spoken by women from colonial America to the end of the 19th century. Introductions to each of the sections place the documents (which include little-known texts as well as the classics) within their cultural and historical context, providing biographical information for each author. The texts are ordered chronologically, often subdivided by topics such as revolutionizing the family and relations between the sexes; education and women's literary culture; the anti-slavery movement; suffrage and other essential rights; and the professions and higher education. Paper edition (unseen), $19.95. Annotation copyrighted by Book News, Inc., Portland, OR.

This volume focuses on what has come to be called the second wave of U.S. feminism. It charts the various strands of the resurgence of feminism in the late 1960s -- from the liberal feminism of Betty Friedan and the National Organization for Women to the anarchist and lesbian identity dimensions of radical feminism. Black-feminist resistance to the white-dominated second wave is looked at closely, as is the unprecedented range of practical women's issues taken up by feminists during the 1970s and beyond: for instance, sexual autonomy, equality in marriage and parenting, child care, welfare, abortion, the Equal Rights Amendment, and the integration of women into higher education. The great diffusion of feminism in the past twenty five years is charted here with separate sections on multicultural feminism and the feminist presence in television, Hollywood, and other areas of popular culture. Finally, the prospects for a third feminist wave are considered in essays from feminist intellectuals writing in the 1990s.

This final volume in the Public Women, Public Words series focuses on what has come to be called the second wave of American feminism. It traces the resurgence of feminism in the late 1960s, reflects the unprecedented range of women's issues taken up by feminists during the 1970s and beyond, and looks toward a third feminist wave for the new millennium.

"A biker. A tattoo artist. A love to last a lifetime. Maddox Cross has always had to be tough. When his father went to jail for murder, the teenager took care of his sister and mother. Now on his own and working security at a night club, Maddox wants to become a tattoo artist-a dream that comes closer to reality when he falls for the hottest, most tatted woman he's ever seen. She's wild and beautiful, and Maddox will do anything to be with her. Bee Malone came to town to open up her new tattoo parlor, Masquerade. Since being kidnapped as a young girl, Bee has had trouble getting close to anyone. But when she meets Maddox, she sees that under his hard biker's body is the sensitive soul of an artist. What starts out as a sizzling one-night stand soon becomes so much more. Bee wants Maddox to join her tattoo business, but letting him into her life means revealing all her most intimate secrets. And as the past begins to intertwine with her present, Bee fears their love may not be as permanent as their ink. 70,000-80,000 words"--