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On narrative and sexuality.

What Gender Is, What Gender Does provides a forceful new paradigm for considering genders. With depth and insight, Judith Roof argues that genders are much more than binary. And they are constantly morphing: they are conscious and unconscious, simultaneously conventional and idiosyncratic. At any moment, more than one gender dynamic is at work in any individual. Roof’s interpretation of genders isn’t content with either biological duality or endlessly open performativity, and what results is a nuanced and surprising representation of gender—an account that captures the complexities of lived experience as well as lived ideology. For Roof, genders are interacting sets of operations that link individual desires to multiple, shifting manifestations of sociocultural positioning and self-presentation. Thus, “to gender” is to signal, mask, suggest, mislead, and simplify the uncontainable chaos of desires characteristic of subjects but roundly contained by society. Drawing illustrative material from contemporary popular culture productions, including My Big Fat Greek Wedding, Spider-Man, Shrek, Shallow Hal, Sex and the City, Bridesmaids, Bond films, and “bromance” movies, What Gender Is, What Gender Does demonstrates how the persistent conflation of gender and sexual difference is, on the one hand, a simple taxonomic urge and, on the other, a cover that offers the security of identity in place of the frustrations and fears of the real asymmetries of personal power dynamics.

Examines the pleasures, perils, and promises of professing one's sexual identity.

This collection of essays explores the shifting definitions of the terms lesbian and postmodern, the lesbian in contemporary fiction and Hollywood film, and the pitfalls and rewards of the recent lesbian theory.

Haber investigates the intersections of erotic desire and dramatic form in works by Shakespeare, Marlowe, Webster, Middleton, Ford, and Cavendish.

In the eighteenth century, when the definition of marriage was shifting from one based on an hierarchical model to one based on notions of love and mutuality, marital life came under a more intense cultural scrutiny. This led to paradoxical forms of representation of marriage as simultaneously ideal and unlivable. Chris Roulston analyzes how, as representations of married life increased, they challenged the traditional courtship model, offering narratives based on repetition rather than progression. Beginning with English and French marital advice literature, which appropriated novelistic conventions at the same time that it cautioned readers about the dangers of novel reading, she looks at representations of ideal marriages in Pamela II and The New Heloise. Moving on from these ideal domestic spaces, bourgeois marriage is then problematized by the discourse of empire in Sir George Ellison and Letters of Mistress Henley, by troublesome wives in works by Richardson and Samuel de Constant, and by abusive husbands in works by Haywood, Edgeworth, Genlis and Restif de la Bretonne. Finally, the alternative marriage narrative, in which the adultery motif is incorporated into the marriage itself, redefines the function of heteronormativity. In exploring the theoretical issues that arise during this transitional period for married life and the marriage plot, Roulston expands the debates around the evolution of the modern couple.

Luxurious Sexualities contains some of the most path- breaking adventurous critical writing currently to be found in Britain. Focusing on eighteenth century sexuality it is intriguing, controversial and provoking. Textual Practice contains articles relating to women, popular culture, visual media, and ethnic and sexual minorities.

Presents new perspectives on representations of female heterosexuality in selected contemporary British and American novels

In the Company of Strangers shows how a reconception of family and kinship underlies the revolutionary experiments of the modernist novel. While stories of marriage and long-lost relatives were a mainstay of classic Victorian fiction, Barry McCrea suggests that rival countercurrents within these family plots set the stage for the formal innovations of Joyce and Proust. Tracing the challenges to the family plot mounted by figures such as Fagin, Sherlock Holmes, Leopold Bloom, and Charles Swann, McCrea tells the story of how bonds generated by chance encounters between strangers come to take over the role of organizing narrative time and give shape to fictional worlds—a task and power that was once the preserve of the genealogical family. By investigating how the question of family is a hidden key to modernist structure and style, In the Company of Strangers explores the formal narrative potential of queerness and in doing so rewrites the history of the modern novel.

The conventional view of the family in the nineteenth-century novel holds that it venerated the traditional domestic unit as a model of national belonging. Contesting this interpretation, American Blood argues that many authors of the period challenged preconceptions of the family and portrayed it as a detriment to true democracy and, by extension, the political enterprise of the United States. Relying on works by Harriet Beecher Stowe, Nathaniel Hawthorne, William Wells Brown, Pauline Hopkins, and others, Holly Jackson reveals family portraits that are claustrophobic, antidemocratic, and even unnatural. The novels examined here welcome, in Jackson's reading, the decline of the family and the exclusionary white-privileging American social order that it supported. Embracing and imagining this decline, the novels examined here incorporate and celebrate the very practices that mainstream Americans felt were the most dangerous to the family as an institution-interracial sex, doomed marriages, homosexuality, and the willful rejection of reproduction. In addition to historicized readings, the monograph also highlights how formal narrative characteristics served to heighten their anti-familial message: according to Jackson, the false starts, interpolated plots, and narrative dead-ends prominent in novels like The House of the Seven Gables and Dred are formal iterations of the books' interest in disrupting the family as a privileged ideological site. In sum, American Blood offers a much-needed corrective that will generate fresh insights into nineteenth-century literature and culture.

How has DNA come to be seen as a cosmic truth, representative of all life, potential for all cures, repository for all identity, and end to all stories? In The Poetics of DNA, Judith Roof examines the rise of this powerful symbol and the implications of its ascendancy for the ways we think--about ourselves, about one another, and about the universe. Descriptions of DNA, Roof argues, have distorted ideas and transformed nucleic acid into the answer to all questions of life. This hyperbolized notion of DNA, inevitably confused or conflated with the "gene," has become a vector through which older ways of thinking can merge with the new, advancing long-discredited and insidious ideas about such things as eugenics and racial selection and influencing contemporary debates, particularly the popular press obsession with the "gay gene." Through metaphors of DNA, she contends, racist and homophobic ideology is masked as progressive science. Grappling with twentieth-century intellectual movements as well as contemporary societal anxieties, The Poetics of DNA reveals how descriptions of DNA and genes typify a larger set of epistemological battles that play out not only through the assumptions associated with DNA but also through less evident methods of magical thinking, reductionism, and pseudoscience. For the first time, Roof exposes the ideology and cultural consequences of DNA and gene metaphors to uncover how, ultimately, they are paradigms used to recreate prejudices. Judith Roof is professor of English and film studies at Michigan State University. She is the author of several books, including All about Thelma and Eve: Sidekicks and Third Wheels.

A New York Times bestseller, Emotional Freedom is a road map for those who are stressed out, discouraged, or overwhelmed as well as for those who are in a good emotional place but want to feel even better. Picture yourself trapped in a traffic jam feeling utterly calm. Imagine being unflappable and relaxed when your supervisor loses her temper. What if you were peaceful instead of anxious? What if your life were filled with nurturing relationships and a warm sense of belonging? This is what it feels like when you’ve achieved emotional freedom. Bestselling author Dr. Judith Orloff invites you to take a remarkable journey, one that leads to happiness and serenity, and a place where you can gain mastery over the negativity that pervades daily life. No matter how stressed you currently feel, the time for positive change is now. You possess the ability to liberate yourself from depression, anger, and fear. Synthesizing neuroscience, intuitive medicine, psychology, and subtle energy techniques, Dr. Orloff maps the elegant relationships between our minds, bodies, spirits, and environments. With humor and compassion, she shows you how to identify the most powerful negative emotions and how to transform them into hope, kindness, and courage. Compelling patient case studies and stories from her online community, her workshop participants, and her own private life illustrate the simple, easy-to-follow action steps that you can take to cope with emotional vampires, disappointments, and rejection. As Dr. Orloff shows, each day presents opportunities for us to be heroes in our own lives: to turn away from negativity, react constructively, and seize command of any situation. Complete emotional freedom is within your grasp.

Here is the revealing underground classic, a work that stands beside the "Seth" books as a delightful and invaluable guide to our inner spirit and our outer world. Emmanuel speaks to us through Pat Rodegast and shares his wisdom and insights on all aspects of life. Beautifully written and illustrated, Emmanuel's Book I is to be treasured, enjoyed and passed on to a friend. Emmanuel says: "The gifts I wish to give you are my deepest love, the safety of truth, the wisdom of the universe and the reality of God . . . . The issue of whether there is a Greater Reality or not, for me at least, has been settled. I know that there is. So I will speak to you from the knowing that I possess." Ram Dass, in the introduction, says: "Being with Emmanuel one comes to appreciate the vast evolutionary context in which our lives are being lived . . . And at each moment we are at just the right place in the journey. As Emmanuel points out, 'Who you are is a necessary step to being who you will be.'" From the Trade Paperback edition.

Margaret Garnett, too tall, too smart, and much too much a Northerner, felt as if she were being watched from the moment she arrived to teach at Tennessee's Magnolia University. The feeling became a shivery chill when she moved into Rebel's Retreat, the historic cottage built by Confederate General Ashton Johnson. But the shock of seeing the general's portrait and recognizing him as the man of her most passionate fantasies left her with an eerie certainty -- that somehow his ghost was actually there. Soon Margaret was reading old letters and devouring every fact on the dashing Ashton, his engagement to a fickle beauty who may have been a spy, his death at the hands of a Union sharpshooter. But nothing prepared Margaret for the fever, the dizziness, and the shock of waking up in a vanished era -- in Ash's arms. Suddenly alive in a South of scorched earth and tears, she knew this was where she had always belonged...where she had been sent to alter the course of war itself, to embrace a destiny time could not stop and a love death could not deny....

Philosopher, literary critic, translator (of Nietzsche and Benjamin), Philippe Lacoue-Labarthe is one of the leading intellectual figures in France. This volume of six essays deals with the relation between philosophy and aesthetics, particularly the role of mimesis in a metaphysics of representation. Comment [1997] "Typography is a book whose importance has not diminished since its first publication in French in 1979. On the contrary, I would say, it is only now that one can truly begin to appreciate the groundbreaking status of these essays. The points it makes, the way it approaches the questions of mimesis, fictionality, and figurality, is unique. There are no comparable books, or books that could supersede it." —Rudolphe Gasché, State University of New York, Buffalo "Lacoue-Labarthe's essays still set the standards for thinking through the problem of subjectivity without simply retreating behind insights already gained. But this book is much more than a collection of essays: it constitutes a philosophical project in its own right. Anybody interested in the problem of mimesis—whether from a psychoanalytic, platonic, or any other philosophical angle—cannot avoid an encounter with this book. Lacoue-Labarthe is a philosopher and a comparatist in the highest sense of the word, and the breadth of his knowledge and the rigor of his thought are exemplary." —Eva Geulen, New York University Review "In demonstrating how mimesis has determined philosophical thought, Lacoue-Labarthe provokes us into reconsidering our understanding of history and politics. . . . Together with the introduction, these essays are essential reading for anyone interested in Heidegger, postmodernism, and the history of mimesis in philosophy and literature." —The Review of Metaphysics