Once upon a time in Renaissance Italy, Bianca, a young lady from a good family, is of marriage age. Her parents find her a fiancé to their liking: Giovanni, a rich merchant, young and pleasant. The wedding looks set to go smoothly even though Bianca can’t hide her disappointment at having to marry a man she knows nothing about. But before the marriage, she learns the secret held and bequeathed by the women of her family for generations: a “man’s skin”! By donning it, Bianca becomes “Lorenzo” and enjoys all the attributes of a young man of stunning beauty. She can now visit the world of men incognito and get to know her fiancé in his natural environment. In her male skin, Bianca frees herself from the limits imposed on women. The morals of the Renaissance then act as a mirror to our present time and poses several questions: why should women be treated differently from men? Why should their freedom be the object of contempt and coercion?

With the long-chained dragon now free and the rebels' invasion smashed by her exultant fury, young Emperor Chien Hua is ambitious to strike back with increasingly godlike powers that are making him dangerously rash. But the emperor's forces have no hope of launching a counterattack, until a goddess moves to oppose the dragon's will.

The five-and six-year-olds in my class have invented a new game they call suicide. I have never seen a game I hate so much in which all the children involved are so happy. So begins Under Deadman's Skin, a deceptively simple-and compellingly readable-teachers' tale. Jane Katch, in the tradition of Vivian Paley and Jonathan Kozol, uses her student's own vocabulary and storytelling to set the scene: a class of five-and six-year-olds obsessed with what is to their teacher hatefully violent fantasy play. Katch asks, 'Can I make a place in school for understanding these fantasies, instead of shutting them out?' Over the course of the year she holds group discussions to determine what kind of play creates or calms turmoil; she illustrates (or rather the children illustrate) the phenomenon of very young children needing to make sense of exceptionally violent imagery; and she consults with older grade-school boys who remember what it was like to be obsessed by violence and tell Katch what she can do to help. Katch's classroom journey-one that leads her to rules and limits that keep children secure-is an enabling blueprint for any teacher or parent disturbed by violent children's play.

In this candid analysis, Susan Bordo speaks to men and women alike, scrutinising the images and experience of everyday life. She takes a frank, tender look at her own father's body and goes on to analyse the presentation of maleness in wider society.

TEMPTED: Friends as well as coworkers, Lauren and Tony have maintained a strict hands-off policy with each other--until an out-of-town party gives them an excuse to share a hotel room. And when they do, their clothes come off--and the new rule is definitely hands on. HOT WIRED: Spending a summer in San Francisco before starting her career, Lola is looking for fun. And when she meets the driver of a fire-engine red pickup--a guy with plenty of muscle under his own hood--he finds herself in for the hottest, hardest ride of her life. CHINA DOLL: When Rand and Anna meet in the lush heat of an Indonesian hotel, it's strictly one night only for two strangers looking to banish the ghosts in their pasts. But more than their skin is bared when they come together in the tropical heat, and before long they're aching for more.

It is the largest and perhaps the most important organ of our body—it covers our fragile inner parts, defines our social identities, and channels our sensory experiences. And yet we rarely give a thought. With The Book of Skin, Steven Connor aims to change all that, offering an intriguing cultural history of skin. Connor first examines physical issues such as leprosy, skin pigmentation, cancer, blushing, and attenuations of erotic touch. He also explains why specific colors symbolize certain emotions, such as green for envy or yellow for cowardice, as well as why skin is the focus of destructive rage in many people’s violent fantasies. The Book of Skin then probes into how skin has been such a powerfully symbolic terrain in photography, religious iconography, cinema, and literature. From the Turin shroud to Ralph Ellison’s Invisible Man to plastic surgery, The Book of Skin expertly examines the role of skin in Western culture. A compelling read that penetrates well beyond skin-deep, The Book of Skin validates James Joyce’s declaration that “modern man has an epidermis rather than a soul.” “Richly conceived and elaborately thought out. No flicker of meaning has escaped Connor’s ferocious, all-seeing eye.”—Guardian

A collection of 20 profiles of fascinating men by author and magazine writer Steve Oney. Written over a 40-year period, many are prize-winning essays.