A compilation of straight, and LGBT male erotic tales. A variety of narratives, told from the male point of view, narrating as well as exposing sexual adventures and the irony which followed.

Explores the history of the letter as an expression of sexual desire.

This book revises assumptions about satire as a public, masculine discourse derived from classical precedents, in order to develop theoretical and critical paradigms that accommodate women, popular culture, and postmodern theories of language as a potentially aggressive, injurious act. Although Habermas places satirists like Swift and Pope in the public sphere, this book investigates their participation in clandestine strategies of attack in a world understood to be harboring dangerous secrets. Authors of anonymous pamphlets as well as major figures including Behn, Dryden, Manley, Swift, and Pope, share at times what Swift called the writer's "life by stealth."

Everyone who's watched American Pie knows about MILFs, but have you ever heard of a DILF? You have now. DILF: CONFESSIONS OF A SEXY DAD covers topics such as jorts, Honey Boo Boo and the Pittsburgh Steelers. Even when more controversial subjects such as drugs and religion are discussed, DILF - Yours Truly - maintains his sense of humor. DILF is built around three stories. The first is "Forbidden Fruit," the story of Adam and Eve told as if Adam's gay partner Steve lived with them in Eden. The second is "Bed Buddies," about a modern-day couple trying an open marriage, and the third is "A Family Affair," a potboiler about a woman whose family secret comes back to haunt her. Anyway, I'd say more but the ol' ball and chain is telling me to wrap it up. Apparently our kitty made a number two, and the litter box isn't going to clean itself. Clearly my wife didn't get the sexy dad memo. Just do me a favor and check out the preview. That says you need to know, thanks.

Foreword by Francesca Lia Block For more than 20 years, Michael Cart’s column for Booklist has delighted YA literature enthusiasts and bibliophiles in general with an engaging mixture of wit, insight, and good old fashioned publishing industry gossip. Spotlighting Cart’s unique perspective as both devoted book reviewer and self-proclaimed book addict, this “Carte Blanche” compilation offers readers the chance to trace the blossoming of YA lit into a bona fide phenomenon that continues to grow in popularity. In the columns gathered here, he explores reading, writing, and book collections and collecting;the past, present and future of YA lit;a multitude of genres, including historical fiction, fantasy, science fiction, humor, and comics; andmemories of notable figures in the world of publishing through tributes and memorials. These pieces remain as engaging and fun to read as when they first appeared.

As British women writers in the late eighteenth and early nineteenth centuries sought to define how they experienced their era's social and economic upheaval, they helped popularize a new style of bourgeois female sensibility. Building on her earlier work in Romantic Androgyny, Diane Long Hoeveler now examines the Gothic novels of Charlotte Smith, Ann Radcliffe, Jane Austen, Charlotte Dacre Byrne, Mary Shelley, and the Brontës to show how these writers helped define femininity for women of the British middle class. Hoeveler argues that a female-created literary ideology, now known as "victim feminism," arose as the Gothic novel helped create a new social role of professional victim for women adjusting to the new bourgeois order. These novels were thinly disguised efforts at propagandizing a new form of conduct for women, teaching that "professional femininity"—a cultivated pose of wise passiveness and controlled emotions—best prepared them for social survival. She examines how representations of both men and women in these novels moved from the purely psychosexual into social and political representations, and how these writers constructed a series of ideologies that would allow their female characters—and readers—fictitious mastery over an oppressive social and political system. Gothic Feminism takes a neo-feminist approach to these women's writings, treating them not as sacred texts but as thesis-driven works that attempted to instruct women in a series of strategic poses. It offers both a new understanding of the genre and a wholly new interpretation of feminism as a literary ideology.