The trailblazing book that influenced a generation of writers, and proves that mature reflection needn’t be lacking in attitude. In the beginning when everything was very sexual we talked about our fantasies. She thought about having a guy for some of it. She thought about having a gun. I had gone through a lot to get away from guys so I admit that the thought of going back to them, even for a little adventure, was surprising and disconcerting … Ann Rower’s first book, If You’re a Girl, published by Semiotext(e)’s Native Agents series in 1991 in tandem with Cookie Mueller’s Walking Through Clear Water in a Pool Painted Black, cemented her reputation as the Eve Babitz of lower Manhattan. Rower was fifty-three years old at the time. Her stories—urtexts of female autofiction—had long been circulating within the poetry and postpunk music scenes. They were unlike anyone else’s: disarming, embarrassing, psuedoconfessional tales of everyday life dizzily told and laced with dry humor. In If You’re a Girl, she recounts her adventures as Timothy Leary’s babysitter, her artistic romance with actor Ron Vawter, and her attempts to evade a schizophrenic stalker. Rower went on to publish two novels: Armed Response (1995) and Lee & Elaine (2002). After the 2002 suicide of her partner, the writer Heather Lewis, Rower stopped writing for almost two decades. And then she picked up where If You’re a Girl left off. No longer a girl, she produced dozens of stories from her life in New York as an octogenarian. This new, expanded edition includes most of the original book, together with selections from both her novels and her recent writings. If You’re a Girl is a trailblazing book that manifests Rower’s influence on a generation of writers, and proves that mature reflection needn’t be lacking in attitude.

Rower's fiction is a devious transcription of life as it morphs into stories that turn into still more stories, palimpsets inscribed in a true confessional mode: a transfiction. Elizabeth LeComte: Alright, I want to know something and I want the straight dope. Were you ever in the sack with this guy? Ann Rower: With [Timothy] Leary? Willem Dafoe: Oh, here it is... " Ann and I ambled up to the bedroom." [laughter] Ann Rower: Ah, he was a liar. He's so dishonest. I mean, he was a classic paranoid... but like most paranoids he turned out to be right... Ann Rower writes like Dorothy Parker as if she'd taken acid to come down from speed. Funny, sad and smart, Rower's fiction is a devious transcription of life as it morphs into stories that turn into still more stories, palimpsets inscribed in a true confessional mode: a transfiction. If You're A Girl, published in 1990, includes Rower's story about Timothy Leary's Millbrook days, which formed the basis of The Wooster Group's acclaimed play LSD... Just The High Points. Perhaps the most distinguished American writer ever to have babysat for Timothy Leary.

From her days of feeling like “a root beer among the Cokes”—Coca-Cola being a forbidden fruit for Mormon girls like her—Joanna Brooks always understood that being a member of the Church of Jesus Christ of Latter-day Saints set her apart from others. But, in her eyes, that made her special; the devout LDS home she grew up in was filled with love, spirituality, and an emphasis on service. With Marie Osmond as her celebrity role model and plenty of Sunday School teachers to fill in the rest of the details, Joanna felt warmly embraced by the community that was such an integral part of her family. But as she grew older, Joanna began to wrestle with some tenets of her religion, including the Church’s stance on women’s rights and homosexuality. In 1993, when the Church excommunicated a group of feminists for speaking out about an LDS controversy, Joanna found herself searching for a way to live by the leadings of her heart and the faith she loved. The Book of Mormon Girl is a story about leaving behind the innocence of childhood belief and embracing the complications and heartbreaks that come to every adult life of faith. Joanna’s journey through her faith explores a side of the religion that is rarely put on display: its humanity, its tenderness, its humor, its internal struggles. In Joanna’s hands, the everyday experience of being a Mormon—without polygamy, without fundamentalism—unfolds in fascinating detail. With its revelations about a faith so often misunderstood and characterized by secrecy, The Book of Mormon Girl is a welcome advocate and necessary guide.

What Wild at Heart did for men, Captivating is doing for women. Setting their hearts free. This groundbreaking book shows readers the glorious design of women before the fall, describes how the feminine heart can be restored, and casts a vision for the power, freedom, and beauty of a woman released to be all she was meant to be.

Amanda Hardy only wants to fit in at her new school, but she is keeping a big secret, so when she falls for Grant, guarded Amanda finds herself yearning to share with him everything about herself, including her previous life as Andrew.

A feisty girl from a family of ranchers lands a job as a daredevil stunt girl in the early days of silent film in this adventurous and funny cross between Wild Hearts Can't Be Broken and Ramona. Pearl lives on a ranch where her chores include collecting eggs and feeding ornery ostriches. She has three older brothers, who don't coddle her at all. And she knows a thing or two about horses, too. One day, Pearl's brothers get cushy jobs doing stunts for this new form of entertainment called "moving pictures." They're the Daredevil Donnelly Brothers, a Death-Defying Cowboy Trio. Before she knows it, Pearl has stumbled into being a stunt girl herself--and dreams of becoming a star. The only problem is, her mother has no idea what she's up to. And let's just say she wouldn't be too happy to find out that Pearl's been jumping out of burning buildings in her spare time. Filled with action, humor, and heart--not to mention those pesky ostriches--The Nerviest Girl in the World introduces a spunky heroine whose adventures will have kids on the edge of their seats and whose sense of humor will have them laughing until the very last line.

The doctrine of adoption—God's decision to adopt sinful men and women into his family—stands at the heart of Christianity. In light of this, Christians' efforts to adopt beautifully illustrate the truth of the gospel. In this popular-level and practical manifesto, Russell Moore encourages Christians to adopt children and to help other Christian families to do the same. He shows that adoption is not just about couples who have struggled to have children. Rather, it's about an entire culture within evangelicalism—a culture that sees adoption as part of the Great Commission mandate and as a sign of the gospel itself.