Collects essays about the years the author spent as a professional nude model.

A “eye-opening, gritty, and compelling” memoir by one of New York City’s last Times Square peep show girls (The Paris Review Online). In 2006, Gotham City Video was among the last of its kind where, breathing in a cocktail of Pine-Sol and Windex, a man paid $40 to watch a girl strip naked behind glass. These fantasy lands, left over from the days when 42nd Street was the center of vice, eventually disappeared from the rapidly gentrifying city, their stories lost forever. Not those of tenderloin grinder, Sheila McCelar. Pulling back the curtain on the little-documented world of the peeps, her “ribald . . . memorable and highly relevant” (The Daily Beast) reflection is “both a eulogy and a paean to the freaks and misfits who have long given their souls to the city” (Matthew Gallaway, author of The Metropolis Case). A late bloomer from small-town Michigan, Sheila arrived in New York as a struggling actress and soon found herself adrift. Borderline homeless, and crashing with friends, she finally got steady work that paid the rent—as a stripper along the triple-x stretch of Eighth Avenue. When Times Square seeped into her blood, she ended up staying much longer than she imagined. The story she tells is not just of her own coming-of-age, it’s a “sharp, sweetly personal . . . fascinating and honest” narrative of modern life on the fringes of society in New York City (Mark Jacobson, author of Pale Horse Rider).

Live Nude Elf chronicles Reverend Jen's two-year stint as sex columnist for nerve.com; she details her “sexperiments,” ranging from harrowing (working as a live nude girl at “Wiggles”) to embarrassing (fellatio school) to transcendent (reaching a mystical state through tantric sex). Along the way there is transvestitism, female ejaculation, opium smoking, and heartbreak. In the Rev's “art star” world, where a young bisexual boy named Orion has sex with a jar of mayonnaise, the more mundane acts of romance—kissing, buying dinner for a lover, and just making eye contact in the sack—become rare and subversive. The experiments, orgies, balloon fetish parties, a stint as the “lube girl” on a porn set, the “lab partners,” and the late nights begin to wear on the Reverend, who craves normalcy, and the columns change their tone: Jen takes care of a friend’s baby, navigates yuppie bars trying to snag a millionaire hubby, and dates a silver fox, “someone older, distinguished, wealthy, and simply grooving with the eternal now.” After a decade of New York City affairs, Jen unexpectedly falls in love and must decide: Does the life required of an artist and a sex columnist preclude her from monogamous romantic love?

Hop on the express train to sexual enlightenment with the updated second edition of REAL LIVE NUDE GIRL by feminist performance artist, bisexual activist, sex educator and self-avowed whore Dr. Carol Queen.

A New York Times Bestseller Award-winning Vanity Fair writer Nancy Jo Sales crisscrossed the country talking to more than two hundred girls between the ages of thirteen and nineteen about their experiences online and off. They are coming of age online in a hypersexualized culture that has normalized extreme behavior, from pornography to the casual exchange of nude photographs; a culture rife with a virulent new strain of sexism; a culture in which teenagers are spending so much time on technology and social media that they are not developing basic communication skills. The dominant force in the lives of girls coming of age in America today is social media: Instagram, Whisper, Vine, Youtube, Kik, Ask.fm, Tinder. Provocative, explosive, and urgent, American Girls will ignite much-needed conversation about how we can help our daughters and sons negotiate the new social and sexual norms that govern their lives.

Live Nude Elf chronicles Reverend Jen's two-year stint as sex columnist for nerve.com; she details her “sexperiments,” ranging from harrowing (working as a live nude girl at “Wiggles”) to embarrassing (fellatio school) to transcendent (reaching a mystical state through tantric sex). Along the way there is transvestitism, female ejaculation, opium smoking, and heartbreak. In the Rev's “art star” world, where a young bisexual boy named Orion has sex with a jar of mayonnaise, the more mundane acts of romance—kissing, buying dinner for a lover, and just making eye contact in the sack—become rare and subversive. The experiments, orgies, balloon fetish parties, a stint as the “lube girl” on a porn set, the “lab partners,” and the late nights begin to wear on the Reverend, who craves normalcy, and the columns change their tone: Jen takes care of a friend’s baby, navigates yuppie bars trying to snag a millionaire hubby, and dates a silver fox, “someone older, distinguished, wealthy, and simply grooving with the eternal now.” After a decade of New York City affairs, Jen unexpectedly falls in love and must decide: Does the life required of an artist and a sex columnist preclude her from monogamous romantic love?

Adored by its fans, deplored by its critics, Oprah's Book Club has been at the center of arguments about cultural authority and literary taste since it began in 1996. Reading with Oprah explores the club's revolutionary fusion of books, television, and commerce and tells the engaging and in-depth story of the OBC phenomenon. Kathleen Rooney combines extensive research with a dynamic voice to reveal the club's far-reaching cultural impact and its role as crucible for the clash between "high" and "low" literary taste. Comprehensive and up-to-date, the book covers the club from its inception in 1996, through the Jonathan Franzen contretemps, the surprising suspension in 2002, and, after the club's return in 2003, the progression from "great books" to memoir. New material includes an extensive look at the James Frey scandal and Oprah's turn to contemporary fiction, including The Road and Middlesex. Through close examination of Winfrey's picks and personal interviews with book club authors and readers, Rooney demonstrates how the club that Barbara Kingsolver calls "one of the best possible uses of a television set" has, according to Wally Lamb, "gotten people of all ages to read, to read more, and to read widely."

In an age of globalization characterized by the dizzying technologies of the First World, and the social disintegration of the Third, is the concept of utopia still meaningful? Archaeologies of the Future, Jameson's most substantial work since Postmodernism, Or, the Cultural Logic of Late Capitalism, investigates the development of this form since Thomas More, and interrogates the functions of utopian thinking in a post-Communist age. The relationship between utopia and science fiction is explored through the representations of otherness . alien life and alien worlds . and a study of the works of Philip K. Dick, Ursula LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson and more. Jameson's essential essays, including "The Desire Called Utopia," conclude with an examination of the opposing positions on utopia and an assessment of its political value today.

In this Companion, leading film scholars and critics of American culture and imagination trace Hitchcock's interplay with the Hollywood studio system, the Cold War, and new forms of sexuality, gender, and desire over his thirty-year American career.

A heartrending, gripping novel about two sisters in Belle Époque Paris and the young woman forever immortalized as muse for Edgar Degas’ Little Dancer Aged Fourteen. 1878 Paris. Following their father’s sudden death, the van Goethem sisters find their lives upended. Without his wages, and with the small amount their laundress mother earns disappearing into the absinthe bottle, eviction from their lodgings seems imminent. With few options for work, Marie is dispatched to the Paris Opéra, where for a scant seventeen francs a week, she will be trained to enter the famous ballet. Her older sister, Antoinette, finds work as an extra in a stage adaptation of Émile Zola’s naturalist masterpiece L’Assommoir. Marie throws herself into dance and is soon modeling in the studio of Edgar Degas, where her image will forever be immortalized as Little Dancer Aged Fourteen. There she meets a wealthy male patron of the ballet, but might the assistance he offers come with strings attached? Meanwhile Antoinette, derailed by her love for the dangerous Émile Abadie, must choose between honest labor and the more profitable avenues open to a young woman of the Parisian demimonde. Set at a moment of profound artistic, cultural, and societal change, The Painted Girls is a tale of two remarkable sisters rendered uniquely vulnerable to the darker impulses of “civilized society.” In the end, each will come to realize that her salvation, if not survival, lies with the other.