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They will approach a woman and have sex with her. (Reason we can't remember, possibly war/bio-weapon.) The few men who are fertile work for the government and go around the country impregnating women. We can't remember any mention of high-tech, etc.įor some reason in this nation almost all men are infertile. The setting is a small town in a dystopian near-future. The story itself could be quite a bit older as Dutch publishing houses at the time often bought these short-stories in bulk from British and American publishers and it was usually not the newest material they got. We read it around 1990, give or take a few years, as a Dutch translation in a bundle of short stories. We are hoping the unusual subject is trigger enough for someone to identify it. I realized I had read it as well a long time ago, but neither of us can remember much detail about it. A few days ago I was discussing SF/Fantasy with unusual subject matter with a friend and he mentioned this short story. Bush administration leading up to and during the 1992 presidential election. correspondent for Newsweek magazine from 1989 to 1993, Bingham covered the George H. Class Action was a 2002 Los Angeles Times best book of the year and won the AAUW Speaking Out For Justice Award in 2007 Bingham’s first book was Women on the Hill: Challenging the Culture of Congress (1997).Īs a Washington, D.C. She has written three books: Witness to the Revolution: Radicals, Resisters, Vets, Hippies, and the Year America Lost Its Mind and Found Its Soul (2016), Class Action: The Landmark Case that Changed Sexual Harassment Law (co-written with Laura Leedy Gansler 2002) which was adapted into the 2005 feature film, North Country. At Harvard, she served as co-news editor of the Harvard Independent. She graduated from Harvard University in 1985 with a degree in History and Literature. Bingham was born in 1963 into a newspaper famil in Louisville, Kentucky. As the violence in his community continues, Moss deals with panic attacks and self-doubt, trying to stay below the radar and enjoy the new relationship he is in until some things change that make it impossible for him to stay quiet any longer. A high schooler in Oakland, California, he is still struggling to deal with the loss of his father six years prior at the hands of a policeman too quick to pull the trigger. Moss Jeffries knows that bad things can happen. It is a narrative about intergenerational trauma, about hope, and about finding strength in one's family and community, executed in a way that will keep readers turning the page. Anger is a Gift by Mark Oshiro is a welcome addition to the contemporary YA oeuvre, taking readers inside a brutal reality that too many young people today know well. It is no secret that contemporary young adult literature has been becoming more political, addressing the real problems and challenges faced by teenagers in the United States today. When tensions hit a fever pitch, Moss must face a difficult choice: give in to fear and hate or realize that anger can actually be a gift. The play’s hilarious vignettes include a riff on motherly fashion tips. This breaks down to prom dresses, the hegemony of black, the agony of buying bras, the iconography of Madonna, weight wars, dressing room disasters, the fear and loathing of purses, and enough mother issues to give Freud a run for his money. Women’s love/hate relationship with their clothes (and the bodies underneath) is what it’s all about. Where: The Players Centre for Performing Arts, 838 N. It’s as if you’re hanging around with friends who’ve dropped their guard. Their performances are low-key and conversational. In this production, seven women actors play 28 characters. The play adapts Ilene Beckerman’s 1995 book as a series of monologues and ensemble scenes. Nora Ephron and Delia Ephron’s “Love, Loss, and What I Wore” explores the pinch points at The Players Centre for Performing Arts. Women’s self-image and the fascism of fashion. OL17929115W Pages 598 Partner Innodata Pdf_module_version 0.0.17 Ppi 360 Rcs_key 24143 Republisher_date 20211221125031 Republisher_operator Republisher_time 572 Scandate 20211215083609 Scanner Scanningcenter cebu Scribe3_search_catalog isbn Scribe3_search_id 9781770462182 Tts_version 4. Urn:lcp:blanketsgraphicn0000thom_r8u4:epub:80d8ad3d-648e-45ed-aaeb-22c94e1aa2d7 Foldoutcount 0 Identifier blanketsgraphicn0000thom_r8u4 Identifier-ark ark:/13960/s2z9zf3b5mk Invoice 1652 Isbn 177046218Xĩ781770462182 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Japanese Ocr_detected_script_conf 0.6508 Ocr_module_version 0.0.14 Ocr_parameters -l eng Old_pallet IA-WL-1200080 Openlibrary_edition He was awarded three Eisner awards, three Harvey awards, two Ignatz awards, and a Grammy nomination for album cover artwork on Menomena’s Friend and Foe. He is the writer and artist of the critically acclaimed graphic novels Blankets, Habibi, Space Dumplins, Good-bye, Chunky Rice, and Carnet de Voyage. Access-restricted-item true Addeddate 09:05:19 Bookplateleaf 0008 Boxid IA40315011 Camera USB PTP Class Camera Collection_set printdisabled External-identifier In each piece, she gracefully dances between the micro and the macro, constantly looking at very specific things and then somehow tying to something much larger effortlessly. However, looking at some standouts-and there are not weak essays here-is a much better because Didion’s writing demands careful attention. Witty, heartfelt, and insightful, the writing in Let Me Tell You What I Mean is always incisive and shows Didion as a perennial chronicler and keen observer obsessed with the present, the palpable, the real.Įven a brief discussion of every essay would lead to an incredibly long review because the depth of Didion’s observations invites discussion. In Let Me Tell You What I Mean, a new collection of twelve nonfiction pieces ranging from 1968 to 2000 and gathered together for the first time, Didion tackles the press, art, her college years, writing, and her own self-doubt, which has been constant throughout her career and is to blame for the small number of short stories she has written. Any discussion about the giants of contemporary American letters must include Joan Didion. Her curly, pretty line is unexpectedly perfect for the life of underappreciated 1970s singer/songwriter Betty Davis. Brazen is at its best when Bagieu's ladies are shielded from physical violence and meet happy ends: Artist Tove Jansson, astronaut Mae Jemison, swimmer Annette Kellerman and ancient gynecologist Agnodice are all ideal subjects. This painful but indubitable truth grates perpetually against Bagieu's natural register. Her voice is pert and saucy, and her cartoons are darling.Īlas, though, the radical acts of "rebel ladies" she chronicles haven't always had cute consequences. Bagieu's brand of feminism comes with frills and curlicues galore. Not kittens-and-puppies cuteness, but the kind of cuteness associated with femininity - and not, usually, with feminism. Reading Brazen, French artist Pénélope Bagieu's cartoon celebration of rule-breaking women, I kept thinking about the feminist uses of cuteness. Your purchase helps support NPR programming. Close overlay Buy Featured Book Title Brazen Subtitle Rebel Ladies Who Rocked the World Author Pénélope Bagieu and Montana Kane The epic fourth volume in the New York Times bestselling Jackaby series features wry humor and a cast of unforgettable characters facing off against their most dangerous, bone-chilling foe ever. But before the four can think about their own futures, they will have to defeat an evil that wants to destroy the future altogether. Jackaby and Abigail are caught in the middle as they continue to solve mysteries in New Fiddleham, New England-like who’s created the rend between the worlds, how to close it, and why the undead are appearing around town.Īt the same time, the romance between Abigail and the shape-shifting police detective Charlie Cane deepens, and Jackaby’s resistance to his feelings for the ghostly lady of 926 Augur Lane, Jenny Cavanaugh, begins to give way. An evil king is turning ancient tensions into modern strife, using a blend of magic and technology to push the earth and the otherworld into a mortal competition. Jackaby and his intrepid assistant, Abigail Rook. The fate of the world is in the hands of detective of the supernatural R. In this conclusion to the Jackaby series, the eccentric detective and his assistant Abigail Rook find themselves in the middle of a war between magical worlds. Jackaby, supernatural detective, and his indispensable assistant, Abigail Rook, are plunged into the heart of an apocalyptic war between magical worlds in the action-packed fourth book in the New York Times bestselling Jackaby series by William Ritter. And then there's Fezzik, the gentle giant addicted to rhyming. Featuring the obligatory handsome Prince and supremely beautiful princess, it also boasts a Spanish sword wizard, the Zoo of Death, a chocolate-coated resurrection pill and lots of villains, who span the spectrum from evil, through even more evil to (gasp) most evil. It's a tongue-in-cheek fairytale of love, life, action, death and life again. So starts a fairytale like no other, of fencing, fighting, torture, poison, true love, hate, revenge, giants, hunters, bad men, good men, beautifulest ladies, snakes, spiders, beasts, chases, escapes, lies, truths, passion and miracles.įirst published well, in 1973 actually, this book spawned the Rob Reiner-directed cult film of the same name. But her charms draw the attention of the relentless Prince Humperdinck who wants a wife and will go to any lengths to have Buttercup. So when she hears that his ship has been captured by the Dread Pirate Roberts - who never leaves survivors - her heart is broken. Beautiful, flaxen-haired Buttercup has fallen for Westley, the farm boy, and when he departs to make his fortune, she vows never to love another. |