This book analyses the impact of postfeminist discourse and the mainstreaming of pornography on our understanding of intimacy and female sexuality. It is a broad critical survey of a recent publishing phenomenon – the female-authored erotic memoir – and positions the texts under analysis as complex and contradictory expressions of popular feminism.

'I work in a pretty ordinary office from 9 to 5. I could be the receptionist in your building, or the girl next to you on the bus reading a copy of Metro. And I'm wondering, what happened? How did I turn from a spotty teenager into this femme fatale who can't stop falling in and out of bed.' Following a bad breakup, twenty-something Sienna Lewis resolves not to commit to one man until she has found The One. Instead she starts to explore the world of internet dating, sex clubs, one-night stands and booty calls. But it's not always easy - if not getting a call from one man is bad enough, not hearing from five is even more distressing. And then there is the man she can't get out of her head, Tall Boy from the office. How will she tell him that for her it's more than just the sex ...Sienna's just an ordinary girl from the office with an extraordinary private life, and her diaries are explicit, very honest and lots of fun.

Literary ombudsman John Crace never met an important book he didn't like to deconstruct. From Salman Rushdie to John Grisham, Crace retells the big books in just 500 bitingly satirical words, pointing his pen at the clunky plots, stylistic tics and pretensions of Big Ideas, as he turns publishers' golden dream books into dross.

This book explores the dramatic rise in popularity of the women’s biopic in contemporary Bollywood, within the context of wider cultural shifts over the past decade. Delving into the societal shifts reflected in the genre, both on and off screen, the book explores the contours of individual agency and the centring of women in Indian cinema. The book offers new insight into women-centric Hindi biopics, a fast-rising genre carving out a tradition of its own, with female directors and actors contributing to this rising postfeminist celebration of women’s agency and individuality. The authors posit that the alternative narratives, created by Bollywood and accepted by mainstream audiences, have become a catalyst to elevate women or female actors to protagonists, without the need to conform to the sexist mores of mainstream Bollywood. This book will be of interest to scholars, researchers and upper-level students in the areas of film studies, media industries, gender and feminism, and South Asian studies.

This collection of essays on selected texts in literature, film and the media is driven by a shared theme of contesting the binary thinking in respect of gender and sexuality. The three parts of this book – “contesting norms”, “performing selves” and “blurring the lines” – delineate the queer celebration of difference and deviance. They pinpoint the limitation of assumed norms and subverting them, revel in the fluid and ambiguous self that springs from the contestation of those norms, and then repeatedly transgress and, as a result, obscure the limits that separate the normal from the abnormal. The variety of texts included in the collection ranges from a discussion of queer subjects represented in film, television and literature to that of the representations of other non-normative figures (including a madwoman, a freak or a prostitute) and to gender-role contestation and gender-bending practicing evidenced in the press, theatre, film, literature and popular culture.

Monisha Rajesh was born in King’s Lynn in Norfolk and grew up all over England. She read French at the University of Leeds and taught English at a high school in Cannes before studying postgraduate journalism at City University London. She has written for the London Evening Standard, The Guardian, TIME magazine and The New York Times. Monisha now works at The Week magazine and lives in London. This is her first book.