Evan Harris and Cole Morgan couldn't be more different. Evan is a lonely, abused emo who longs for a better life, while Cole is the popular quarterback of his high school's football team. Unbeknownst to Evan, Cole is gay and has had crush on him for years. However, Evan wants nothing more than to graduate and leave his current life behind him. Then, his teacher gives him a second chance in the form of a tutor, who just so happens to be Cole Morgan. Cole and Evan quickly grow close. Little do they know Charlie, Cole's jealous ex-boyfriend, is spending his time scheming to break up the happy couple. Stalking and watching Cole's every move, he wants nothing more than to have the jock as his again, whatever the price.

There's a lot of learning experiences that come from standing out; especially in high school. No one treats you like some star, and none of the popular hunks want to date you. Normally, one would fantasize about such a thing, but for Rain Parlet it's the complete opposite. Always hiding in the shadows, Rain floated through high school without any problems. That is until she catches the eye of the lovable quarterback of the football team: Jake Barker. His cool attitude doesn't seem to phase Rain, only causing his desire to deepen. He will do anything to have her, even if it means becoming a different person. Through the twists and turns of high school, Rain and Jake find themselves pulled towards each other. Until Jake drops the bomb and confesses his feelings for her; everything falls out of place. Rain is a simple high school student who just wants to make it out alive. What will happen when Jake falls for her, and makes it completely impossible for Rain to do so?

For many, the word “emo” calls to mind angsty teenagers, shaggy black haircuts, and skinny jeans. A popular music phenomenon in the early 2000s, emo is short for “emotional hardcore,” and refers to both a music genre and a youth scene notable for its androgynous style. Judith May Fathallah pushes beyond the stereotypes and social stigma to explore how online fandom has shaped the definition of emo, with significant implications both for millennial constructs of gender and for contemporary fan studies. First laying out the debate over what emo is, Fathallah walks superfans and newcomers through the culture surrounding thegenre’s major bands, including the emo holy trinity: My Chemical Romance, Fall Out Boy, and Panic! At the Disco. Next she examines fans’ main mode of participation in the emo subculture—online communities such as LiveJournal, Tumblr, MySpace, and band websites. Taking a hard look at the gender politics that dominated those spaces, she unearths a subculture that simultaneously defines itself by its sensitivity and resistance to traditional forms of masculinity, yet ruthlessly enforces homophobic and sexist standards. Fathallah demonstrates fandom’s key role in defining emo as a concept and genre after 2001, with probing insight into its implications for gender constructions through popular music.

Th is book is a collection of poems that I wrote over the course of my childhood. There is no theme or focus, but simply an assortment of diff erent thoughts and emotions. Many of the poems refl ect the meaning of nature and life as I viewed them happening around me. Some writings are about me and my inner feelings, while others take up the perspectives of others.

Identity and Communication offers an innovative take on traditional topics of intercultural communication while promoting new ideas and progressive theories.With essays by emerging voices in identity communication, volume contributors discuss the ways that racial, cultural, and gender identities are perceived and relayed within those communities and the media. The text’s essays are structured into four parts, each highlighting different themes of identity communication, from general approaches to racial perceptions to female and adolescent identities. Originating from the University of Texas at Austin‘s New Agendas in Communication symposium, this volume represents some of the latest and most forward-looking scholarship currently available.

A polemical analysis of the politics and economics of today's vernacular photographic cultures. In Photography After Capitalism, Benedict Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google “Scan-Ops,”low-paid gallery interns, homeless participant photographers, and the photo-sharing masses. Bringing together cultural criticism, social history, and political philosophy, Burbridge examines how representations of our photographic lives—in advertising, journalism, scholarship and, particularly, contemporary art—shape a sense of what photography is and the social relations that comprise it. More precisely, he focuses on how different critical and creative strategies—from the appropriation of social media imagery to performative traversals of the network, from documentaries about secretive manual labor to science fiction fantasies of future sabotage—affect our understanding of photography's interactions with political and economic systems. Drawing insight and inspiration from recent analyses of digital labour, community economies and post-capitalism, Burbridge harnesses the ubiquity of photography to cognitively map contemporary capitalism in search of its weak spots and levers, sites of resistance, and opportunities to build better worlds.

A teenage girl must grapple with her agoraphobia as romance blossoms with her new neighbor in this YA novel—“a poignant work, infused with humor” (School Library Journal). Seventeen-year-old Norah Dean hasn’t left the house in years. Her agoraphobia and OCD are so intense that when groceries are left on the porch, she can’t even step out to get them. Struggling to snag the bags with a stick, she meets Luke. He’s sweet and funny, and he just caught her fishing for groceries. Because of course he did. Norah can’t leave the house, but can she let someone in? As their friendship grows deeper, Norah realizes Luke deserves a normal girl. One who can lie on the front lawn and look up at the stars. One who isn’t so screwed up. Readers themselves will fall in love with Norah in this deeply engaging portrait of a teen struggling to find the strength to face her demons.