First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Angelia Poon examines the ways in which British colonial authority in the nineteenth century was predicated on its being rendered in ways that were recognizably 'English'. Reading a range of texts by authors that include Charlotte Brontë, Mary Seacole, Charles Dickens, Rudyard Kipling, and H. Rider Haggard, Enacting Englishness in the Victorian Period focuses on the strategies-narrative, illustrative, and rhetorical- used to perform English subjectivity during the time of the British Empire.

First published in 2002. This book explores the philosophical, social, and aesthetic implications of twentieth-century America's obsession with eliminating waste. Through interdisciplinary engagement with fiction and popular culture, William Little traces the way this obsession finds expression in powerful social forces (e.g., the drive to consume conspicuously; the Progressive-era campaign to manage scientifically; the current demand to "reduce, reuse, recycle"), and shows how such forces are governed by an idealism that links proper treatment of waste with the promise of salvation.

Informed by selected postmodern theories and cultural criticism, this study argues that while American fiction of the 1980s and 1990s bears the outward signs of a return to realism, it also evidences recurring themes of postmodernism, such as alienation, social disintegration, personal despair, historical dislocation, and authorial self-reflexiveness.

Through analysis of metaphors of consciousness in the philosophy and fiction of William James, Henry James and Edith Wharton, this work traces the significance of representations of knowledge, gender and social class, revealing how writers conceived of the self in modern literature.

A fan-favorite classic Fern Michaels novel, beautifully repackaged for fans old and new. Back in college, Jane Lewis would have given anything to be like homecoming queen Connie Bryan. Instead, she was just Plain Jane--a painfully shy wallflower no one would remember. That was then. Today, a lovely and confident Dr. Jane Lewis has a thriving psychotherapy practice, her own radio talk show, a beautiful old Louisiana mansion, and her affectionate, nutty dog, Olive, to keep her company. The only thing missing is someone to share her life. Jane has never forgotten Michael Sorenson, the boy she'd admired from afar in college. Now, he's inspiring her to hope for a future together. She's also never forgotten the brutal, unsolved attack that ended Connie Bryan's life--and haunts Jane still. Suddenly, the present collides with the past, as she finds clues into the identities of Connie's attackers--clues that send her into a world of risk and excitement, challenging her to become a truly extraordinary woman...if she dares.

First Published in 2002. Advanced technologies challenge conventional understandings of the human subject by transforming the body into a conduit between external forces and the internal psyche. This title discusses the intense controversy about how to best understand and represent human subjectivity in a technology-intensive era. Yaszek provides an overview by linking specific modes of identity and agency to engagement with specific manifestations of technology itself.

The book explores the written representation of African-American oral storytelling from Charles Chesnutt, Zora Neale Hurston and Ralph Ellison to James Alan McPherson, Toni Cade Bambara and John Edgar Wideman. At its core, the book compares the relationship of the "frame tale"-an inside-the-text storyteller telling a tale to an inside-the-text listener-with the relationship between the outside-the-text writer and reader. The progression is from Chesnutt's 1899 frame texts, in which the black spoken voice is contained by a white narrator/listener, to Bambara's sixties-era example of a "frameless" spoken voice text, to Wideman's neo-frame text of the late 20th century.

Ugly as sin, the ugly duckling—or maybe you fell out of the ugly tree? Let’s face it, we’ve all used the word “ugly” to describe someone we’ve seen—hopefully just in our private thoughts—but have we ever considered how slippery the term can be, indicating anything from the slightly unsightly to the downright revolting? What really lurks behind this most favored insult? In this actually beautiful book, Gretchen E. Henderson casts an unfazed gaze at ugliness, tracing its long-standing grasp on our cultural imagination and highlighting all the peculiar ways it has attracted us to its repulsion. Henderson explores the ways we have perceived ugliness throughout history, from ancient Roman feasts to medieval grotesque gargoyles, from Mary Shelley’s Frankenstein to the Nazi Exhibition of Degenerate Art. Covering literature, art, music, and even the cutest possible incarnation of the term—Uglydolls—she reveals how ugliness has long posed a challenge to aesthetics and taste. She moves beyond the traditional philosophic argument that simply places ugliness in opposition to beauty in order to dismantle just what we mean when we say “ugly.” Following ugly things wherever they have trod, she traverses continents and centuries to delineate the changing map of ugliness and the profound effects it has had on the public imagination, littering her path with one fascinating tidbit after another. Lovingly illustrated with the foulest images from art, history, and culture, Ugliness offers an oddly refreshing perspective, going past the surface to ask what “ugly” truly is, even as its meaning continues to shift.

What would you do if you went to bed ugly, fat, and depressed and woke up the next morning in the body of a goddess? This is exactly the miracle that befalls Allison Penny, who has spent most of her twenty-two years on this earth in a serious slump (to say the least). Having long since given up on her life, Allison is stuck in an apartment with an evil sexpot roommate, trapped in a dysfunctional relationship with her alcoholic mother, and miserably working as a cleaning lady to pay the bills. Now, of course, Allison wastes no time in test-driving her new looks, and she experiences all of the power and fun that come with being gorgeous. Men and modeling agencies are falling all over her, and she finally has the confidence to live her life without trying to disappear into the background. But even for the beautiful people, things can get complicated, and soon Allison finds herself with a whole new set of problems. Darkly hilarious, engaging, and full of surprises, Waking Beauty is a modern-day fairy tale with an all-too-real moral: No matter how much we hate to admit it, it’s what’s on the outside that counts.