Description of the costume collection in the Royal Ontario Museum.

Following François Laruelle's nonstandard philosophy and the work of Judith Butler, Drucilla Cornell, Luce Irigaray, and Rosi Braidotti, Katerina Kolozova reclaims the relevance of categories traditionally rendered "unthinkable" by postmodern feminist philosophies, such as "the real," "the one," "the limit," and "finality," thus critically repositioning poststructuralist feminist philosophy and gender/queer studies. Poststructuralist (feminist) theory sees the subject as a purely linguistic category, as always already multiple, as always already nonfixed and fluctuating, as limitless discursivity, and as constitutively detached from the instance of the real. This reconceptualization is based on the exclusion of and dichotomous opposition to notions of the real, the one (unity and continuity), and the stable. The non-philosophical reading of postructuralist philosophy engenders new forms of universalisms for global debate and action, expressed in a language the world can understand. It also liberates theory from ideological paralysis, recasting the real as an immediately experienced human condition determined by gender, race, and social and economic circumstance.

Lacing cultural criticism, Victorian literature, and storytelling together, "TOO MUCH spills over: with intellect, with sparkling prose, and with the brainy arguments of Vorona Cote, who posits that women are all, in some way or another, still susceptible to being called too much." (Esmé Weijun Wang) A weeping woman is a monster. So too is a fat woman, a horny woman, a woman shrieking with laughter. Women who are one or more of these things have heard, or perhaps simply intuited, that we are repugnantly excessive, that we have taken illicit liberties to feel or fuck or eat with abandon. After bellowing like a barn animal in orgasm, hoovering a plate of mashed potatoes, or spraying out spit in the heat of expostulation, we've flinched-ugh, that was so gross. I am so gross. On rare occasions, we might revel in our excess--belting out anthems with our friends over karaoke, perhaps--but in the company of less sympathetic souls, our uncertainty always returns. A woman who is Too Much is a woman who reacts to the world with ardent intensity is a woman familiar to lashes of shame and disapproval, from within as well as without. Written in the tradition of Shrill, Dead Girls, Sex Object and other frank books about the female gaze, TOO MUCH encourages women to reconsider the beauty of their excesses-emotional, physical, and spiritual. Rachel Vorona Cote braids cultural criticism, theory, and storytelling together in her exploration of how culture grinds away our bodies, souls, and sexualities, forcing us into smaller lives than we desire. An erstwhile Victorian scholar, she sees many parallels between that era's fixation on women's "hysterical" behavior and our modern policing of the same; in the space of her writing, you're as likely to encounter Jane Eyre and Lizzie Bennet as you are Britney Spears and Lana Del Rey. This book will tell the story of how women, from then and now, have learned to draw power from their reservoirs of feeling, all that makes us "Too Much."

Two friends, a rabbit and a pig, have a quarrel until they discover that they have more fun together than alone.

Ten years after the publication of the highly acclaimed, award-winning Côte D'Or: A Celebration of the Great Wines of Burgundy, the "Bible of Burgundy," Clive Coates now offers this thoroughly revised and updated sequel. This long-awaited work details all the major vintages from 2006 back to 1959 and includes thousands of recent tasting notes of the top wines. All-new chapters on Chablis and Côte Chalonnaise replace the previous volume's domaine profiles. Coates, a Master of Wine who has spent much of the last thirty years in Burgundy, considers it to be the most exciting, complex, and intractable wine region in the world, and the one most likely to yield fine wines of elegance and finesse. This book is an indispensable guide for amateur and professional alike by one of the world's leading wine experts, writing with his habitual expertise, lucidity, and unequaled firsthand knowledge.

In the writing style of the great Raymond Chandler comes this tense 1940s thriller set under the bright lights of today's PGA Tour. - For Jack Austin, life on Tour is great. He still believes in what the game stands for: honesty and integrity. At a tournament in Arizona, however, a rookie pro reveals to Jack that a mafia-run gambling ring has invaded the Tour--and the young man is in the middle of it. The golfer is being mysteriously blackmailed and Jack is forced to enter the underworld to protect his fiancee, solve a murder, and save the game he loves.

Summer of 1988. Leavenworth, Kansas: a town with four major prisons, gripped by the recent escape of a convict. Yet for two young brothers, all that matters is the pool in their apartment complex. They spend their blissful days practicing dives while their divorcée mother works her day shift at the golf course and their policeman father patrols the streets. But when a mysterious stranger appears poolside and creates a rift between the brothers, the younger one wonders just what these visits to the pool might ultimately cost. Based on Cote Smith's well-received short story of the same name, Hurt People will hold you in its grip to the very last page. Eerily atmospheric, lean, and forceful, this is a debut from a slyly talented new writer.