On a beautiful June day in 1965, a dozen girls-classmates at a picturesque Blue Ridge women's college-launched their homemade raft (inspired by Huck Finn's) on a trip down the Mississippi. It's Girls A-Go-Go Down the Mississippi read the headline in the Paducah, Kentucky, paper. Thirty-five years later, four of those "girls" reunite to cruise the river again. This time it's on the luxury steamboat, The Belle of Natchez, and there's no publicity. This time, when they reach New Orleans, they'll give the river the ashes of a fifth rafter-beautiful Margaret ("Baby") Ballou. Revered for her powerful female characters, here Lee Smith tells a brilliantly authoritative story of how college pals who grew up in an era when they were still called "girls" have negotiated life as "women." Harriet Holding is a hesitant teacher who has never married (she can't explain why, even to herself). Courtney Gray struggles to step away from her Southern Living-style life. Catherine Wilson, a sculptor, is suffocating in her happy third marriage. Anna Todd is a world-famous romance novelist escaping her own tragedies through her fiction. And finally there is Baby, the girl they come to bury-along with their memories of her rebellions and betrayals. THE LAST GIRLS is wonderful reading. It's also wonderfully revealing of women's lives-of the idea of romance, of the relevance of past to present, of memory and desire.

This queer YA psychological thriller from the author of Some Girls Do is now in paperback, featuring a glow-in-the-dark cover! “Shocking, captivating, and utterly chilling. A delicious thriller that will have you tearing through pages to get to the end, where you won’t be disappointed.” —Jessica Goodman, bestselling author of They Wish They Were Us and The Counselors Sloan and Cherry. Cherry and Sloan. They met only a few days before masked men with machetes attacked the summer camp where they worked, a massacre that left the rest of their fellow counselors dead. Now, months later, the two are inseparable, their traumatic experience bonding them in ways no one else can understand. But as new evidence comes to light and Sloan learns more about the motives behind the ritual killing that brought them together, she begins to suspect that her girlfriend may be more than just a survivor—she may actually have been a part of it. Cherry tries to reassure her, but Sloan only becomes more distraught. Is this gaslighting or reality? Is Cherry a victim or a perpetrator? Is Sloan confused, or is she seeing things clearly for the very first time? Against all odds, Sloan survived that hot summer night. But will she survive what comes next?

Twelve-year-old Julia knows that her physical deformity will keep her from a normal life, but counts on the continuing friendship of her life-long slave, Mitka, until they learn that both of their futures in first-century Pompeii are about to change for the worse.

Demetra Brodsky's Last Girls is a twisting, suspenseful YA thriller about sisterhood, survival, and family secrets set in the world of doomsday prepping. No one knows how the world will end. On a secret compound in the Washington wilderness, Honey Juniper and her sisters are training to hunt, homestead, and protect their own. Prepare for every situation. But when danger strikes from within, putting her sisters at risk, training becomes real life, and only one thing is certain: Nowhere is safe. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

This volume examines contemporary reformulations of the ‘Final Girl’ in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher subgenre. Focusing specifically on popular texts that emerged in the 21st century, the volume asks: What is the sociocultural context that facilitated the remarkable proliferation of the Final Girls? What kinds of stories are told in these narratives and can they help us make sense of feminism? What are the roles of literature and media in the reconsiderations of Carol J. Clover’s term of thirty years ago and how does this term continue to inform our understanding of popular culture? The contributors to this collection take up these concerns from diverse perspectives and with different answers, notably spanning theories of genre, posthumanism, gender, sexuality and race, as well as audience reception and spectatorship.

On a beautiful June day in 1965, a dozen girls-classmates at a picturesque Blue Ridge women's college-launched their homemade raft (inspired by Huck Finn's) on a trip down the Mississippi. It's Girls A-Go-Go Down the Mississippi read the headline in the Paducah, Kentucky, paper.Thirty-five years later, four of those "girls" reunite to cruise the river again. This time it's on the luxury steamboat, The Belle of Natchez, and there's no publicity. This time, when they reach New Orleans, they'll give the river the ashes of a fifth rafter-beautiful Margaret ("Baby") Ballou. Revered for her powerful female characters, here Lee Smith tells a brilliantly authoritative story of how college pals who grew up in an era when they were still called "girls" have negotiated life as "women." Harriet Holding is a hesitant teacher who has never married (she can't explain why, even to herself). Courtney Gray struggles to step away from her Southern Living-style life. Catherine Wilson, a sculptor, is suffocating in her happy third marriage. Anna Todd is a world-famous romance novelist escaping her own tragedies through her fiction. And finally there is Baby, the girl they come to bury-along with their memories of her rebellions and betrayals. THE LAST GIRLS is wonderful reading. It's also wonderfully revealing of women's lives-of the idea of romance, of the relevance of past to present, of memory and desire.