The Planeta Prize–winning novel from the author of the Petra Delicado series: “A highly literate noir, a powerful tale of lives spiraling out of control” (NB magazine). Irene’s husband has left her for a younger woman and her family business is on the verge of collapse, but the last thing she wants is to be the subject of gossip or pity. So she starts spending time with a divorcée who, in liberating herself from the bonds of marriage, has also freed herself from the clutches of the old crowd of “couple friends.” Javier is a literature teacher who suddenly loses his job at a Catholic school. He’s not ambitious—the months go by and no work materializes. Then, almost by accident, he gets back in contact with a cocky friend from his youth who introduces him to the world of stripping and male prostitution. Circumstance brings Irene and Javier together: he gets some extra cash and mental stimulation out of their relationship, and she finds an outlet for her frustrations. However, Irene doesn’t want to have sex with him—she just wants to see him naked, humiliated, dominated. Their relationship takes a troubling turn, but things may be even more complicated than they seem. Alicia Giménez-Bartlett weaves a tale of economic and personal devastation, portraying the ways that life’s disappointments can bring people to do things they never would have imagined. “Incendiary . . . This provocative dive into gender, power, and class uses diverse viewpoints to craft a powerful story and an unpredictable, memorable ending.” —Publishers Weekly “A stark realist portrait of characters who are searching for their place in a world without redemption.” —Culturamas

Women writers imagine all things sexual from the point of view of male characters--Cover pg. [4].

Undressed Toronto looks at the life of the swimming hole and considers how Toronto turned boys skinny dipping into comforting anti-modernist folk figures. By digging into the vibrant social life of these spaces, Barbour challenges narratives that pollution and industrialization in the nineteenth century destroyed the relationship between Torontonians and their rivers and waterfront. Instead, we find that these areas were co-opted and transformed into recreation spaces: often with the acceptance of indulgent city officials. While we take the beach for granted today, it was a novel form of public space in the nineteenth century and Torontonians had to decide how it would work in their city. To create a public beach, bathing needed to be transformed from the predominantly nude male privilege that it had been in the mid-nineteenth century into an activity that women and men could participate in together. That transformation required negotiating and establishing rules for how people would dress and behave when they bathed and setting aside or creating distinct environments for bathing. Undressed Toronto challenges assumptions about class, the urban environment, and the presentation of the naked body. It explores anxieties about modernity and masculinity and the weight of nostalgia in public perceptions and municipal regulation of public bathing in five Toronto environments that showcase distinct moments in the transition from vernacular bathing to the public beach: the city’s central waterfront, Toronto Island, the Don River, the Humber River, and Sunnyside Beach on Toronto’s western shoreline.

She knows the rules of the game . . . but she can't resist his moves Publicist Abby Fields's career is on the rise. And with failed romances in her past, she has no time for men. When a job opportunity opens up with a sports team in Florida, Abby eagerly packs up and heads south. Yet after a work event in Mirabelle, Florida, Abby finds herself in the arms of a hockey player whose heartstopping smile leads her to the steamiest night of her life . . . Logan James is hot on and off the ice. With his team on an epic winning streak, life couldn't get better . . . until he meets Abby, the fiery redhead assigned to protect his team's image. Now Logan's finding it difficult to concentrate on anything other than getting Abby undressed. But after a secret is leaked to the press, the taste of betrayal opens old wounds. If they can't learn to trust each other, they may risk losing more than their hearts.

Undressed Toronto looks at the life of the swimming hole and considers how Toronto turned boys skinny dipping into comforting anti-modernist folk figures. By digging into the vibrant social life of these spaces, Barbour challenges narratives that pollution and industrialization in the nineteenth century destroyed the relationship between Torontonians and their rivers and waterfront. Instead, we find that these areas were co-opted and transformed into recreation spaces: often with the acceptance of indulgent city officials. While we take the beach for granted today, it was a novel form of public space in the nineteenth century and Torontonians had to decide how it would work in their city. To create a public beach, bathing needed to be transformed from the predominantly nude male privilege that it had been in the mid-nineteenth century into an activity that women and men could participate in together. That transformation required negotiating and establishing rules for how people would dress and behave when they bathed and setting aside or creating distinct environments for bathing. Undressed Toronto challenges assumptions about class, the urban environment, and the presentation of the naked body. It explores anxieties about modernity and masculinity and the weight of nostalgia in public perceptions and municipal regulation of public bathing in five Toronto environments that showcase distinct moments in the transition from vernacular bathing to the public beach: the city’s central waterfront, Toronto Island, the Don River, the Humber River, and Sunnyside Beach on Toronto’s western shoreline.

Exoticisation undressed is an innovative ethnography that makes visible the many layers through which our understandings of indigenous cultures are filtered and their inherent power to distort and refract understanding. The book focuses in detail on the clothing practices of the Emberá in Panama, an Amerindian ethnic group, who have gained national and international visibility through their engagement with indigenous tourism. The very act of gaining visibility while wearing indigenous attire has encouraged among some Emberá communities a closer identification with an indigenous identity and a more confident representational awareness. The clothes that the Emberá wear are not simply used to convey messages, but also become constitutive of their intended messages. By wearing indigenous-and-modern clothes, the Emberá-who are often seen by outsiders as shadows of a vanishing world-reclaim their place as citizens of a contemporary nation. Through reflexive engagement, Exoticisation undressed exposes the workings of ethnographic nostalgia and the Western quest for a singular, primordial authenticity, unravelling instead new layers of complexity that reverse and subvert exoticisation.

Explores how transgressions of the body's surface - dirt and undress in many forms - take on cultural, political, and moral value.

This extraordinary book documents a fascinating moment in the history of American culture - a period in the 1930s, '40s and '50s that give birth to a new notion of male beauty and desire, and to a new type of male icon. Long before Stonewall and the gay pride movement, a small group of daring men - photographers and the models who sat for them - helped pave the way for male sexual liberation. Led by the photographer George Platt Lynes and featuring men such as Jean Marais, Yul Brynner, Paul Cadmus and Tennessee Williams, this group of men - straight as well as gay - shattered taboos surrounding the artistic representations of the male figure. Their ground-breaking work remains as relevant and evocative today as it did half a century ago and its influence can be seen in the work of modern masters such as Bruce Weber, Herb Ritts and Robert Mapplethorpe.

To draw is to understand what we see. In The Undressed Art, writer-naturalist Peter Steinhart investigates the rituals, struggles, and joys of drawing. Reflecting on what is known about the brain’s role in the drawing process, Steinhart explores the visual learning curve: how children begin to draw, how most of them stop, and what brings adults back to this deeply human art form later in life. He considers why the face and figure are such commanding subjects and describes the delicate collaboration of the artist and model. Here is a powerful reminder that no revolution in art or technology can undermine our vital need to draw.