The Grace Trilogy - all three electrifying volumes in one book. The Drawl, horrifying creatures from a higher dimension have started feeding on humans. Grace has seen them, but she is the only one who can. Grace soon learns she is not alone in the fight against evil; cats also have the ability to see them. Follow Grace, and her feline companion Boot, as they face their greatest fears!
Maya: Three actors, including the delectable and perpetually innocent Virgin White, are abandoned on a film set - which may be on the Yucatan Peninsula of Mexico, in Vietnam, or even Santa Monica Boulevard in Hollywood. Ethiopian Exhibition: A town in Ethiopia pretends to be the Mexican resort of Puerto Vallarta, thus earning valuable dollars from hordes of American tourists. Queen of Law Vegas: Elsewhere - high in the mountains of Central Mexicao - a down-on-his-luck film director prepares to make a pornographic film, using an imitation Law Vegas made out of papier-mache.
The Pandoran war machine ravaged the galaxy, driving the human race to the brink of destruction. Seven men and women stood in its way. This is their story. (Note: this book contains all three novels in the trilogy - The Honour of the Knights (Second Edition), The Third Side, and The Attribute of the Strong. It is not a fourth novel.
In The Hypersexuality of Race, Celine Parreñas Shimizu urges a shift in thinking about sexualized depictions of Asian/American women in film, video, and theatrical productions. Shimizu advocates moving beyond denunciations of sexualized representations of Asian/American women as necessarily demeaning or negative. Arguing for a more nuanced approach to the mysterious mix of pleasure, pain, and power in performances of sexuality, she advances a theory of “productive perversity,” a theory which allows Asian/American women—and by extension other women of color—to lay claim to their own sexuality and desires as actors, producers, critics, and spectators. Shimizu combines theoretical and textual analysis and interviews with artists involved in various productions. She complicates understandings of the controversial portrayals of Asian female sexuality in the popular Broadway musical Miss Saigon by drawing on ethnographic research and interviews with some of the actresses in it. She looks at how three Hollywood Asian/American femme fatales—Anna May Wong, Nancy Kwan, and Lucy Liu—negotiate representations of their sexuality; analyzes 1920s and 1930s stag films in which white women perform as sexualized Asian characters; and considers Asian/American women’s performances in films ranging from the stag pornography of the 1940s to the Internet and video porn of the 1990s. She also reflects on two documentaries depicting Southeast Asian prostitutes and sex tourism, The Good Woman of Bangkok and 101 Asian Debutantes. In her examination of films and videos made by Asian/American feminists, Shimizu describes how female characters in their works reject normative definitions of race, gender, and sexuality, thereby expanding our definitions of racialized sexualities in representation.
The given self is behind every fight for the right of each of us to be who we are and is the way to personal and spiritual liberation. The Given Self is about taking back what we've lost: our selves, our hearts, our humanity.
This introduction to Greek tragedy, the origin of much of our modern drama, is the work of a remarkable scholar who is also a practical man of theater. The author of magisterial studies of Ibsen, Strindberg, Chekhov and Shaw, and of symbolism in the theater from the nineteenth century to our times, Maurice Valency has written for the stage and for television, and he translated, adapted and collaborated in producing two great Broadway successes–Giraudoux's the Mad Woman of Chaillot and Durrenmatt's The Visit.
