This timely study offers a radical re-reading of Conrad's work in the light of contemporary theories of masculinity. Drawing on gay studies, feminism, film theory and literary theory, Roberts shows how Conrad's fiction, even as it reflects certain assumptions of its day about the role of men in society, offers striking insights into the instability of the 'masculine'. The book explores the relationship of masculinity with colonialism, modernity, the visual and the body in a wide range of Conrad's major and lesser-known fiction.

The Girl Who Wasn’t and Is, Anastasia Walker’s first book of poetry, is a deeply personal work and a meditation on community, history, and the natural world. In a series of poems and a closing autobiographical essay, the poet embraces her identity as a transgender woman through a harrowing, wonder-full journey from her childhood on the Maine coast to her post-transition life in Pittsburgh, Pennsylvania. Original photos and drawings, and the interspersed stories of family and friends, community members, historical and mythological figures, and the allied struggles of others create a broad sense of connection. The Girl Who Wasn’t and Is is a rich mosaic that invites readers to a conversation about death and life, despair and hope, time and memory, and the perennial complexities of love.

Locked in the Family Cell is the first book on Ireland to provide a sustained and interdisciplinary analysis of gender, sexuality, nationalism, the public and private spheres, and the relationship between these categories of analysis and action. Kathryn Conrad examines the writers and activists who are resistant to simplistic nationalist constructions of Ireland and its subjects. She exposes the assumptions and the effects of national discourses in Ireland and their reliance on a limited and limiting vision of the family: the heterosexual family cell. By actively situating theoretical readings and concerns in practice, Conrad follows the lead of scholars such as Lauren Berlant, Gloria Anzaldua, Ailbhe Smyth, and others who have encouraged dialogue not only among scholars in different academic disciplines but between scholars and activists. In doing so she provides not only a critique of interest to scholars in a variety of fields but also a productive political intervention.

The economics profession is belatedly confronting glaring gender inequality. Women are systematically underrepresented throughout the discipline, and those who do embark on careers in economics find themselves undermined in any number of ways. Women in the field report pervasive biases and barriers that hinder full and equal participation—and these obstacles take an even greater toll on women of color. How did economics become such a boys’ club, and what lessons does this history hold for attempts to achieve greater equality? Gender and the Dismal Science is a groundbreaking account of the role of women during the formative years of American economics, from the late nineteenth century into the postwar period. Blending rich historical detail with extensive empirical data, Ann Mari May examines the structural and institutional factors that excluded women, from graduate education to academic publishing to university hiring practices. Drawing on material from the archives of the American Economic Association along with novel data sets, she details the vicissitudes of women in economics, including their success in writing monographs and placing journal articles, their limitations in obtaining academic positions, their marginalization in professional associations, and other hurdles that the professionalization of the discipline placed in their path. May emphasizes the formation of a hierarchical culture of status seeking that stymied women’s participation and shaped what counts as knowledge in the field to the advantage of men. Revealing the historical roots of the homogeneity of economics, this book sheds new light on why biases against women persist today.

One of the great bestseller of our time: the novel that inspired Robert Redford’s Oscar-winning film starring Donald Sutherland and Mary Tyler Moore In Ordinary People, Judith Guest’s remarkable first novel, the Jarrets are a typical American family. Calvin is a determined, successful provider and Beth an organized, efficient wife. They had two sons, Conrad and Buck, but now they have one. In this memorable, moving novel, Judith Guest takes the reader into their lives to share their misunderstandings, pain, and ultimate healing. Ordinary People is an extraordinary novel about an "ordinary" family divided by pain, yet bound by their struggle to heal. "Admirable...touching...full of the anxiety, despair, and joy that is common to every human experience of suffering and growth." -The New York Times "Rejoice! A novel for all ages and all seasons." -The Washington Post Book World

Huckleberry Finn dressing as a girl is a famously comic scene in Mark Twain's novel but hardly out of character--for the author, that is. Twain "troubled gender" in much of his otherwise traditional fiction, depicting children whose sexual identities are switched at birth, tomboys, same-sex married couples, and even a male French painter who impersonates his own fictive sister and becomes engaged to another man. This book explores Mark Twain's extensive use of cross-dressing across his career by exposing the substantial cast of characters who masqueraded as members of the opposite sex or who otherwise defied gender expectations. Linda Morris grounds her study in an understanding of the era's theatrical cross-dressing and changing mores and even events in the Clemens household. She examines and interprets Twain's exploration of characters who transgress gendered conventions while tracing the degree to which themes of gender disruption interact with other themes, such as his critique of race, his concern with death in his classic "boys' books," and his career-long preoccupation with twins and twinning. Approaching familiar texts in surprising new ways, Morris reexamines the relationship between Huck and Jim; discusses racial and gender crossing in Pudd'nhead Wilson; and sheds new light on Twain's difficulty in depicting the most famous cross-dresser in history, Joan of Arc. She also considers a number of his later "transvestite tales" that feature transgressive figures such as Hellfire Hotchkiss, who is hampered by her "misplaced sex." Morris challenges views of Twain that see his work as reinforcing traditional notions of gender along sharply divided lines. She shows that Twain depicts cross-dressing sometimes as comic or absurd, other times as darkly tragic--but that even at his most playful, he contests traditional Victorian notions about the fixity of gender roles. Analyzing such characteristics of Twain's fiction as his fascination with details of clothing and the ever-present element of play, Morris shows us his understanding that gender, like race, is a social construction--and above all a performance. Gender Play in Mark Twain: Cross-Dressing and Transgression broadens our understanding of the writer as it lends rich insight into his works.