This look at prostitution in Colorado, 1860-1930, uncovers the lives and woes of "working girls" in mining towns such as Cripple Creek.

"When former marshal Oscar Schiller investigates the violent slaying of Temperance Moon, the legendary female outlaw, he rides straight into a web of jealousy, blackmail, and deceit." --Amazon.com.

As a longtime Austin resident and writer for the Texas Historical Commission, Andy Rhodes knows the best ways to experience the Lone Star State. In keeping with the "everything is bigger in Texas” motif the state is famous for, Rhodes covers a colossal amount of sights and activities, including catching up-and-coming indie bands at Austin's South by Southwest music festival and exploring the rugged landscape of Big Bend National Park. Rhodes also offers unique trip strategies that help travelers plan trips according to their interests, such as Texas Food—an exploration of Southern cooking and Tex-Mex—and Overlooked Natural Wonders. With detailed information on everything from surfing and fishing the Gulf Coast to checking out museums in Dallas, Moon Texas gives travelers the tools they need to create a more personal and memorable experience.

From automatons to zombies, many elements of fantasy and science fiction have been cross-pollinated with the Western movie genre. In its second edition, this encyclopedia of the Weird Western includes many new entries covering film, television, animation, novels, pulp fiction, short stories, comic books, graphic novels and video and role-playing games. Categories include Weird, Weird Menace, Science Fiction, Space, Steampunk and Romance Westerns.

Archaeology of a Brothel in Nineteenth-Century Boston, MA provides an accessible and thought-provoking account of the archaeological understanding of nineteenth-century prostitution in Boston, Massachusetts. The book explores how the practice of nineteenth-century sex work involved a careful construction of fantasy for brothel customers. This fantasy had the potential to provide financial stability and security for the madam of the establishment, if not for the women working for them. Employing theories of embodiment, sexuality, and an archaeology of the senses, this study of the Endicott Street collection contributes a new methodological and theoretical framework for studying the archaeology of prostitution across time, space, and culture. The material culture recovered from brothel sites allows exploration of both the semi-private, "behind the scenes" narrative of sex work, as well as the semi-public, eroticised "performance space" where patrons were entertained. Few books on the archaeology of sex work exist and this volume will both provide an updated perspective on the history of sex work in Boston in the nineteenth century as well as tie advances in gender and embodiment theories to a compelling case study. The book is for students and scholars of historical archaeology, nineteenth-century urban America, and gender studies. Students studying feminist theory and archaeology of the senses will also be interested in the contents.

"Local writer and historian June Morrall tells the unique story of Princeton and Miramar through vintage images culled from private collections, the Spanishtown Historical Society, and the San Mateo County History Museum"--P. [4] of cover.

Queer Virgins and Virgin Queans looks at the early modern theater through the lens of obscure and obscene puns--especially "queer" puns, those that carry homoerotic resonances and speak to homoerotic desires. In particular, it resurrects the operations of a small boys' company known as the first Whitefriars, which performed for about nine months in 1607-8. As a group, the plays performed by this company exhibit an unusually dense array of bawdy puns, whose eroticism is extremely interesting, given that the focus of eros is the male body. The laughter recoverable from Whitefriars plays harnesses the pun's inherent doubleness to homoerotic pleasure; in these plays, 'the bawdy hand of the dial' is always 'on the pricke of noone'. Mary Bly's analysis depends on the nature of punning itself, and the inflections of language and the creativity that marked Whitefriars punsters, with special emphasis on the effect of puns on an audience. What happens to audience members who sit shoulder to shoulder and laugh at homoerotic quibbles? What is the effect of catching a queer pun's double meaning in a group rather than while alone? How can we characterize those auditors, within the convoluted, if fascinating, theories of erotic identity offered by queer theorists?