The Hatford-Malloy feud continues in this fast-paced sequel to The Boys Start the War and The Girls Get Even (both Delacorte, 1993). Their egos still smarting from the humiliation they suffered on Halloween at the hands of their female neighbors, the Hatford boys try to frighten them with tales of the abaguchie, a creature of local legend. A funny series of plans for revenge and retaliation from both sides follows. Ultimately, the children call a truce when they are united by a common cause-sharing a joke at their parents' expense. Although this title sums up the background of the story clearly, it relies on the earlier books for characterization. The girls come across as stereotypes-an athlete, a bookworm, and an aspiring actress-and the boys are virtually indistinguishable from one another. Nevertheless, fans of the previous books will enjoy this installment.

An updated and revised edition of the controversial classic—now more relevant than ever—argues that boys are the ones languishing socially and academically, resulting in staggering social and economic costs. Girls and women were once second-class citizens in the nation’s schools. Americans responded with concerted efforts to give girls and women the attention and assistance that was long overdue. Now, after two major waves of feminism and decades of policy reform, women have made massive strides in education. Today they outperform men in nearly every measure of social, academic, and vocational well-being. Christina Hoff Sommers contends that it’s time to take a hard look at present-day realities and recognize that boys need help. Called “provocative and controversial...impassioned and articulate” (The Christian Science Monitor), this edition of The War Against Boys offers a new preface and six radically revised chapters, plus updates on the current status of boys throughout the book. Sommers argues that the problem of male underachievement is persistent and worsening. Among the new topics Sommers tackles: how the war against boys is harming our economic future, and how boy-averse trends such as the decline of recess and zero-tolerance disciplinary policies have turned our schools into hostile environments for boys. As our schools become more feelings-centered, risk-averse, competition-free, and sedentary, they move further and further from the characteristic needs of boys. She offers realistic, achievable solutions to these problems that include boy-friendly pedagogy, character and vocational education, and the choice of single-sex classrooms. The War Against Boys is an incisive, rigorous, and heartfelt argument in favor of recognizing and confronting a new reality: boys are languishing in education and the price of continued neglect is economically and socially prohibitive.

"A guide to the stages and issues in boys' development from birth to manhood"--Provided by publisher.

As Halloween approaches, the three Malloy sisters find themselves continually trying to get even with the four Hatford brothers, who have been playing tricks on them since the Malloys moved from Ohio to West Virginia.

Caryl Rivers and Rosalind C. Barnett are widely acclaimed for their analyses of women, men, and society. In The Truth About Girls and Boys, they tackle a new, troubling trend in the theorizing of gender: that the learning styles, brain development, motivation, cognitive and spatial abilities, and "natural" inclinations of girls and boys are so fundamentally different, they require unique styles of parenting and education. Ignoring the science that challenges these claims, those who promote such theories make millions while frightening parents and educators into enforcing old stereotypes and reviving unhealthy attitudes in the classroom. Rivers and Barnett unmake the pseudoscientific rationale for this argument, stressing the individuality of each child and the specialness of his or her talents and desires. They recognize that in our culture, girls and boys encounter different stimuli and experiences, yet encouraging children to venture outside their comfort zones helps them realize a multifaceted character. Educating parents, teachers, and general readers in the true nature of the gender game, Rivers and Barnett enable future generations to transform if not transcend the parameters of sexual difference.

The Hatford boys' New Year's resolution is "the girls can stay . . . but only if they play by our rules." Their mother insists that they "treat those girls as though they were your sisters." Okay, but somehow the boys' interpretation owes more to sibling rivalry than to brotherly love. The one weak link is young Peter, who doesn't understand the rivalry, openly likes the girls, and sees nothing wrong with sitting in their kitchen eating homemade cookies and answering questions about his brothers' plans. Readers will find themselves laughing out loud at the pranks, the conversations, and one unforgettably embarrassing moment. The high-flying humor is juxtaposed with the budding affection between Josh and Beth and the way all the children pull together during a blizzard. The fifth entry in Naylor's refreshing series chronicling the feud between the Hatfords and the Malloys.

2016 Choice Outstanding Academic Title Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Long listed for the 2017 Kraszna-Krausz Best Photography Book Award from the Kraszna-Krausz Foundation Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity. Girls Will Be Boys excavates a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed—from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes.