During World War II more than one thousand Filipinas were kidnapped by the Imperial Japanese Army. Lolas’ House tells the stories of sixteen surviving Filipino “comfort women.” M. Evelina Galang enters into the lives of the women at Lolas’ House, a community center in metro Manila. She accompanies them to the sites of their abduction and protests with them at the gates of the Japanese embassy. Each woman gives her testimony, and even though the women relive their horror at each telling, they offer their stories so that no woman anywhere should suffer wartime rape and torture. Lolas’ House is a book of testimony, but it is also a book of witness, of survival, and of the female body. Intensely personal and globally political, it is the legacy of Lolas’ House to the world.

The year is 2008, the place California. Vic Mahler, famous for having inspired cult followers in the seventies, serves time on death row, now facing a countdown of ten days. For years, his daughter, Lana, has been in hiding. Meanwhile, her friend Rose, a lawyer, is determined to bring the two together. When Rose succeeds in tracking down Lana at a California health spa, the two friends must negotiate land mines of memory in order to find their future. In sharp episodes infused with pathos and wit, Edie Meidav brings her acclaimed insight and poetry to the hope of friendship, parenthood, dystopia, and the legacy of the seventies. Lola, California speaks to our contemporary crisis of faith, asking: Can we survive too much choice?

The Lola film is a distinct subgenre of the woman's film in which woman's claim to pleasure is entertained without recourse to the figure of the femme fatale. Lola embodies a recognizable set of characteristics through which over time a select group of directors, actors, and audiences have responded in ways that do not succumb to the imperatives of gender. There are over thirty-five Lola films, starting with Marlene Dietrich in The Blue Angel: many are German, others are French, American, British, Italian, and Spanish, but her claim has also resonated in Argentina, China, Egypt, Mexico, Thailand, and the Philippines. Lola can be working class, lesbian, transgender, ethnic, suburban, or any combination. This book examines Lola as a specific and enduring aspect of the early twentieth-century "new woman": woman's forthright claim to pleasure on her own terms, liberated, if only as a cinematic fantasy, from the usual constraints of sex and gender.

Eleven years of marriage boiled down to one truth: the one who had promised fidelity for better or worse, who'd fathered their three children and joined her in quoting Emily Dickinson lines, had been unfaithful. For years Juliene Anne had endured the embarrassment of Lee having one too many drinks and showing too much interest in other women. But she trusted him to never go too far. Until the message she overheard that changed her life. You need to stop coming out here to California, and screwing around with my girlfriend, and screwing around on your wife, and screwing up my life. The ensuing confrontation and painful interactions that followed reinforced Juliene's perception of Lee as the problem. As they struggled to patch up their marriage, she came to a far more startling conclusion: she could choose to be happy. She could choose to love. Regardless of Lee's actions, Juliene could take steps to strengthen her contentment. This honest memoir of a marriage in tatters brings to light a major misconception throughout society: that we are helpless to resist the feelings accompanying life's troubles. Having passed through one of the most trying tests of marriage, Juliene shares her struggles with the hope of one whose marriage has been strengthened through twenty-five years of openness and commitment. Juliene's heartfelt story reinforces the enduring bond of Christian marriage and the faithfulness of God to those who choose to trust his love.

From Barbara Kingsolver to Julia Alvarez, CALYX celebrates 25 years of literary discoveries. A silver anniversary anthology.

"American literature appears here as more than an offshoot of a single mother country, or of many mother countries, but rather as the interaction among diverse linguistic and cultural trajectories.".