Their Own Best Creations


Book Description

A rich account that combines media-industry history and cultural studies, Their Own Best Creations looks at women writers' contributions to some of the most popular genres of postwar TV: comedy-variety, family sitcom, daytime soap, and suspense anthology. During the 1950s, when the commercial medium of television was still being defined, women writers navigated pressures at work, constructed public personas that reconciled traditional and progressive femininity, and asserted that a woman's point of view was essential to television as an art form. The shows they authored allegorize these professional and personal pressures and articulate a nascent second-wave feminist consciousness. Annie Berke brings to light the long-forgotten and under-studied stories of these women writers and crucially places them in the historical and contemporary record.




Their Own Best Creations


Book Description

A rich account that combines media-industry history and cultural studies, Their Own Best Creations looks at women writers' contributions to some of the most popular genres of postwar TV: comedy-variety, family sitcom, daytime soap, and suspense anthology. During the 1950s, when the commercial medium of television was still being defined, women writers navigated pressures at work, constructed public personas that reconciled traditional and progressive femininity, and asserted that a woman's point of view was essential to television as an art form. The shows they authored allegorize these professional and personal pressures and articulate a nascent second-wave feminist consciousness. Annie Berke brings to light the long-forgotten and under-studied stories of these women writers and crucially places them in the historical and contemporary record.




The Equivalents


Book Description

FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD In 1960, Harvard’s sister college, Radcliffe, announced the founding of an Institute for Independent Study, a “messy experiment” in women’s education that offered paid fellowships to those with a PhD or “the equivalent” in artistic achievement. Five of the women who received fellowships—poets Anne Sexton and Maxine Kumin, painter Barbara Swan, sculptor Marianna Pineda, and writer Tillie Olsen—quickly formed deep bonds with one another that would inspire and sustain their most ambitious work. They called themselves “the Equivalents.” Drawing from notebooks, letters, recordings, journals, poetry, and prose, Maggie Doherty weaves a moving narrative of friendship and ambition, art and activism, love and heartbreak, and shows how the institute spoke to the condition of women on the cusp of liberation. “Rich and powerful. . . . A love story about art and female friendship.” —Harper’s Magazine “Reads like a novel, and an intense one at that. . . . The Equivalents is an observant, thoughtful and energetic account.” —Margaret Atwood, The Globe and Mail (Toronto)




Her Stories


Book Description

Since the debut of These Are My Children in 1949, the daytime television soap opera has been foundational to the history of the medium as an economic, creative, technological, social, and cultural institution. In Her Stories, Elana Levine draws on archival research and her experience as a longtime soap fan to provide an in-depth history of the daytime television soap opera as a uniquely gendered cultural form and a central force in the economic and social influence of network television. Closely observing the production, promotion, reception, and narrative strategies of the soaps, Levine examines two intersecting developments: the role soap operas have played in shaping cultural understandings of gender and the rise and fall of broadcast network television as a culture industry. In so doing, she foregrounds how soap operas have revealed changing conceptions of gender and femininity as imagined by and reflected on the television screen.




Oryx and Crake


Book Description

A stunning and provocative new novel by the internationally celebrated author of The Blind Assassin, winner of the Booker Prize. Margaret Atwood’s new novel is so utterly compelling, so prescient, so relevant, so terrifyingly-all-too-likely-to-be-true, that readers may find their view of the world forever changed after reading it. This is Margaret Atwood at the absolute peak of her powers. For readers of Oryx and Crake, nothing will ever look the same again. The narrator of Atwood's riveting novel calls himself Snowman. When the story opens, he is sleeping in a tree, wearing an old bedsheet, mourning the loss of his beloved Oryx and his best friend Crake, and slowly starving to death. He searches for supplies in a wasteland where insects proliferate and pigoons and wolvogs ravage the pleeblands, where ordinary people once lived, and the Compounds that sheltered the extraordinary. As he tries to piece together what has taken place, the narrative shifts to decades earlier. How did everything fall apart so quickly? Why is he left with nothing but his haunting memories? Alone except for the green-eyed Children of Crake, who think of him as a kind of monster, he explores the answers to these questions in the double journey he takes - into his own past, and back to Crake's high-tech bubble-dome, where the Paradice Project unfolded and the world came to grief. With breathtaking command of her shocking material, and with her customary sharp wit and dark humour, Atwood projects us into an outlandish yet wholly believable realm populated by characters who will continue to inhabit our dreams long after the last chapter.




You Shall Die by Your Own Evil Creation!


Book Description

Readers of the first Fletcher Hanks volume―I Shall Destroy All the Civilized Planets―were stunned by its pop surrealism and outright violent mayhem. This larger second volume, when combined with the first, comprises the complete comics work of the heretofore forgotten Golden Age visionary. Fletcher Hanks was the first great comic book auteur. That is, he wrote, penciled, inked, and lettered all of his own stories. He completed an astonishing 48 stories in three years from 1939-1941. As a one-man-cartooning-band, his work packs the wallop of a unique and unified artistic vision. He was a true comics visionary. In the earliest days of the comic book, before censorship, it was “anything goes!”―and in the tales of Fletcher Hanks, anything went!




The Best of Card Creations


Book Description

Offers more than 500 card projects from recent special issues of Card Creations, published by the editors of Paper CraftsR magazine.




Daily Rituals


Book Description

More than 150 inspired—and inspiring—novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians on how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do. Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, “time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers.” Kafka is one of 161 minds who describe their daily rituals to get their work done, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his “male configurations”.... Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day ... Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced “every pleasure imaginable.” Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books ... Karl Marx ... Woody Allen ... Agatha Christie ... George Balanchine, who did most of his work while ironing ... Leo Tolstoy ... Charles Dickens ... Pablo Picasso ... George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers.... Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to “clear the brain”).




I Am Perfectly Designed


Book Description

I Am Perfectly Designed is an exuberant celebration of loving who you are, exactly as you are, from Karamo Brown, the Culture Expert of Netflix's hit series Queer Eye, and Jason Brown—featuring illustrations by Anoosha Syed. In this empowering ode to modern families, a boy and his father take a joyful walk through the city, discovering all the ways in which they are perfectly designed for each other. "With tenderness and wit, this story captures the magic of building strong childhood memories. The Browns and Syed celebrate the special bond between parent and child with joy and flair...Syed's bright, cartoon illustrations enrich the tale with a meaningful message of kindness and inclusion."—Kirkus




Girl Head


Book Description

Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen.