This critical account of the American Girl brand explores what its books and dolls communicate to girls about femininity, racial identity, ethnicity, and what it means to be an American. Emilie Zaslow begins by tracing the development of American Girl and situates the company’s growth and popularity in a social history of girl power media culture. She then weaves analyses of the collection’s narrative and material representations with qualitative research on mothers and girls. Examining the dolls with both a critical eye and a fan’s curiosity, Zaslow raises questions about the values espoused by this iconic American brand.

For use in schools and libraries only. This clever blend of fantasy, mystery, and adventure revolves around a family of porcelain dolls that have lived in the same house for 100 years and another family of new plastic dolls that moves into the house with them. With striking illustrations from

"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.

Includes pieces crafted from diverse materials and techniques (including forging, casting, forming, and stone setting).

"... Provides a unique window into the lives of the women who collect and love these dolls"--P. [4] of cover.

Winner of the Backwaters Prize in Poetry, Jennifer K. Sweeney’s Foxlogic, Fireweed follows a lyrical sequence of five physical and emotional terrains—floodplain, coast, desert, suburbia, and mesa—braiding themes of nature, domesticity, isolation, and human relationships. These are poems of the earth’s wild heart, its searing mysteries, its hollows, and its species, poems of the complex domestic space, of before and after motherhood, gun terror, the election, of dislocation and home, and of how we circle toward and away from our centers. Sweeney is not afraid to take up the domestic and inner lives of women, a nuanced relationship with the natural world that feels female or even maternal, or a duty to keeping alive poetry’s big questions of transcendence, revelation, awe, and deep presence in the ordinary.

This work revises conventional understandings of what constitutes a doll; broadens the age range to include female adolescents, women and others; locates dolls in untraditional contexts; and utilizes new methodological practices and theoretical frameworks. Placing dolls at the center of analysis reveals how critical girls' toys are in the making - and undoing - of racial, ethnic, national, religious, sexual, class, and gender ideologies and identities.

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.