Full Length, Dark Comedy 3m., 2f. Various, Unit set Amanda, twenty-five, wants to be a great composer. But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fianc , Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and

A groundbreaking collection of essays in feminist music criticism, this book addresses problems of gender and sexuality in repertoires ranging from the early seventeenth century to rock and performance art. ". . . this is a major book . . . [McClary's] achievement borders on the miraculous." The Village Voice"No one will read these essays without thinking about and hearing music in new and interesting ways. Exciting reading for adventurous students and staid professionals." Choice"Feminine Endings, a provocative 'sexual politics' of Western classical or art music, rocks conservative musicology at its core. No review can do justice to the wealth of ideas and possibilities [McClary's] book presents. All music-lovers should read it, and cheer." The Women's Review of Books"McClary writes with a racy, vigorous, and consistently entertaining style. . . . What she has to say specifically about the music and the text is sharp, accurate, and telling; she hears what takes place musically with unusual sensitivity."-The New York Review of Books

Philippa Berry draws on feminist theory, postmodern thought and queer theory, to challenge existing critical notions of what is fundamental to Shakespearean tragedy. She shows how, through a network of images clustered around feminine or feminized characters, these plays 'disfigure' conventional ideas of death as a bodily end, as their figures of women are interwoven with provocative meditations upon matter, time, the soul, and the body. The scope of these tragic speculations was radical in Shakespeare's day; yet they also have a surprising relevance to contemporary debates about time and matter in science and philosophy.

WINNER OF THE ITW THRILLER AWARD FOR BEST FIRST NOVEL “My Sweet Girl pushes the boundaries of what a thriller can do.”—The Washington Post “Fiendish [and] full of twists…. Sri Lankan author Amanda Jayatissa keeps us guessing and worrying until the very end.” —The New York Times “A thriller centered on the meaning of identity and all the layers it can have.”—NPR Paloma thought her perfect life would begin once she was adopted and made it to America, but she’s about to find out that no matter how far you run, your past always catches up to you… Ever since she was adopted from a Sri Lankan orphanage, Paloma has had the best of everything—schools, money, and parents so perfect that she fears she'll never live up to them. Now at thirty years old and recently cut off from her parents’ funds, she decides to sublet the second bedroom of her overpriced San Francisco apartment to Arun, who recently moved from India. Paloma has to admit, it feels good helping someone find their way in America—that is until Arun discovers Paloma's darkest secret, one that could jeopardize her own fragile place in this country. Before Paloma can pay Arun off, she finds him face down in a pool of blood. She flees the apartment but by the time the police arrive, there's no body—and no evidence that Arun ever even existed in the first place. Paloma is terrified this is all somehow tangled up in the desperate actions she took to escape Sri Lanka so many years ago. Did Paloma’s secret die with Arun or is she now in greater danger than ever before?

Loretta Lawson, a feminist professor visiting Paris to deliver a paper on the oppressive nature of masculine grammatical forms, stumbles across the murder of an Oxford don. But when the body disappears, she returns to England without alerting the French police, but is resolved to solve the mystery from across the Channel. The BBC adaptation of A Masculine Ending, starring Bill Nighy and Imelda Staunton, premiered in 1992. 'I love Loretta' - P.D. James 'Ms. Smith is a literate writer who, in this accomplished novel, manages both to educate and to entertain, which is no mean achievement.' - The New York Times

THE STORY: In the early 1970s, before Roe v. Wade, before the Violence Against Women Act, Agnes has turned her quiet bed and breakfast into one of the few spots where victims of domestic violence can seek refuge. But to Agnes’s dismay, her latest runaway, Mary Anne, is beginning to influence Agnes’s college-bound daughter Penny. As the drums of a feminist revolution grow louder outside of Agnes’s tiny world, Agnes is forced to confront her own presumptions about the women she’s spent her life trying to help.

The book that changed the consciousness of a country—and the world. Landmark, groundbreaking, classic—these adjectives barely describe the earthshaking and long-lasting effects of Betty Friedan's The Feminine Mystique. This is the book that defined "the problem that has no name," that launched the Second Wave of the feminist movement, and has been awakening women and men with its insights into social relations, which still remain fresh, ever since. A national bestseller, with over 1 million copies sold.

Finally--a theology of love that will help you navigate the confusing waters of modern relationship. In the beginning, God created Adam. Then he made Eve. And ever since we've been picking up the pieces. With an autobiographical thread that turns a book into a story, pastor and speaker John Mark Comer shares about what is right in male/female relationships--what God intended in the Garden. And about what is wrong--the fallout in a post-Eden world. Loveology starts with marriage and works backward. Comer deals with sexuality, romance, singleness, and what it means to be male and female; ending with a raw, uncut, anything goes Q and A dealing with the most asked questions about sexuality and relationships. This is a book for singles, engaged couples, and the newly married--both inside and outside the church--who want to learn what the Scriptures have to say about sexuality and relationships. For those who are tired of Hollywood's propaganda, and the church's silence. And for people who want to ask the why questions and get intelligent, nuanced, grace-and-truth answers, rooted in the Scriptures.

Waiting for the End examines two dozen contemporary novels within the context of a half century of theorizing about the function of ending in narrative. That theorizing about ending generated a powerful dynamic a quarter-century ago with the advent of feminist criticism of masculinist readings of the role played by ending in fiction. Feminists such as Theresa de Lauretis in 1984 and more famously Susan Winnett in her 1991 PMLA essay, Coming Unstrung, were leading voices in a swelling chorus of theorist pointing out the masculinist bias of ending in narrative. With the entry of feminist readings of ending, it became inevitable that criticism of fiction would become gendered through the recognition of difference transcending a simple binary of female/male to establish a spectrum of masculine to feminine endings, regardless of the sex of the writer. Accordingly, Waiting for the End examines pairs of novels - one pair by Margaret Atwood and one by Ian McEwan - to demonstrate how a writer can offer endings at either end of the gender spectrum.

If you could talk to your younger self, what would you tell her? If you could equip her for the challenges she would face today, with the Church plagued by scandal and the culture on the verge of collapse, what would you say? In Letters to Myself from the End of the World, Emily Stimpson Chapman answers those questions, weaving Catholic theology, biblical wisdom, and her own life experience into forty-five “letters” to her twenty-five-year-old self. Both personal and practical, Chapman’s letters reflect upon sin and grace, the Church’s sacraments and saints, scandals and injustice, social media and prayer, suffering, adoption, motherhood, and much more. Written in real time, during the summer and fall of 2020, while pandemics and riots filled the news and as Chapman and her husband prepared to adopt a second child, Letters to Myself from the End of the World is a faithful guide for pursuing holiness and spiritual maturity in a world broken by sin. It’s also a testimony to the power of grace to heal our hearts, renew our minds, and transform our lives.