Vicky is disappointed in her birthday gift of a dollhouse, but she experiences real terror when she is drawn into the house and the lives of its malicious inhabitants.

"A blissful treasure trove of gossipy insider details that Dolls fans will swiftly devour." --Kirkus Reviews The unbelievable-but-true, inside story of Jacqueline Susann's pop culture icon Valley of the Dolls--the landmark novel and publishing phenomenon, the infamous smash hit film ("the best worst movie ever made"), and Dolls's thriving legacy today Since its publication in 1966, Jacqueline Susann's Valley of the Dolls has reigned as one of the most influential and beloved pieces of commercial fiction. Selling over thirty-one million copies worldwide, it revolutionized overnight the way books got sold, thanks to the tireless and canny self-promoting Susann. It also generated endless speculation about the author's real-life models for its larger-than-life characters. Turned in 1967 into an international box-office sensation and morphing into a much-beloved cult film, its influence endures today in everything from films and TV shows to fashion and cosmetics tributes and tie-ins. Susann's compulsive readable exposé of three female friends finding success in New York City and Hollywood was a scandalous eye-opener for its candid treatment of sex, naked ambition, ageism, and pill-popping, and the big screen version was one of the most-seen and talked-about movies of the time. Dolls! Dolls! Dolls! digs deep into the creation of that hugely successful film--a journey nearly as cut-throat, sexually-charged, tragic, and revelatory as Susann's novel itself--and uncovers how the movie has become a cherished, widely imitated camp classic, thanks to its over-the-top performances, endlessly quotable absurd dialogue, outré costumes and hairdos, despite the high aspirations, money, and talent lavished on it. Screenwriter-journalist-film historian Stephen Rebello has conducted archival research and new interviews to draw back the velvet curtain on the behind-the-scenes intrigue, feuds and machinations that marked the film's production. In doing so, he unveils a rich, detailed history of fast-changing, late 1960s Hollywood, on screen and off.

Tottie is a loving little wooden doll who lives with her family in a shoebox. The doll family is owned by two sisters, Emily and Charlotte, and they are very happy, except for one thing: they long for a proper home. To their delight, their wish comes true when Emily and Charlotte fix up a Victorian dolls' house - just for them. It's perfect. But then a new arrival starts to wreak havoc in the dolls' house. For Marchpane might be a wonderfully beautiful doll, but she is also terribly cruel. And she always gets her own way . . . First published in 1947, Rumer Godden's classic The Dolls' House has been delighting children for years, and this beautiful edition, illustrated by Jane Ray, will delight future generations for years to come.

Annabelle Doll is eight years old-she has been for more than a hundred years. Not a lot has happened to her, cooped up in the dollhouse, with the same doll family, day after day, year after year. . . until one day the Funcrafts move in.

Provides profiles of solo performers, bands, producers, and record labels from the alternative rock movement, ranging from the mid-1970s to the present, and includes discographies, album reviews, and photographs.

Many of us belong to communities that have been scarred by terrible calamities. And many of us come from families that have suffered grievous losses. How we reflect on these legacies of loss and the ways they inform each other are the questions Laura Levitt takes up in this provocative and passionate book. An American Jew whose family was not directly affected by the Holocaust, Levitt grapples with the challenges of contending with ordinary Jewish loss. She suggests that although the memory of the Holocaust may seem to overshadow all other kinds of loss for American Jews, it can also open up possibilities for engaging these more personal and everyday legacies. Weaving in discussions of her own family stories and writing in a manner that is both deeply personal and erudite, Levitt shows what happens when public and private losses are seen next to each other, and what happens when difficult works of art or commemoration, such as museum exhibits or films, are seen alongside ordinary family stories about more intimate losses. In so doing she illuminates how through these “ordinary stories” we may create an alternative model for confronting Holocaust memory in Jewish culture.