To save the library and her job, young librarian Maura Beth Mayhew starts the Cherry Cola Book Club and soon the booklovers of Cherico, Mississippi gather together to talk about literary classics, secrets, romance and dreams over potluck dinners featuring treasured family recipes. Original.

This raw, darkly comic series of astonishing vignettes is Emily Colas' achingly honest chronicle of her twisted journey through the obsessive-compulsive disorder that came to dominate her world. In the beginning it was germs and food - to her mind, anything from ground-up hypodermic needles to disease-tainted blood could be on her restaurant plate. By the time she faced the fact that she was really "losing it," Colas had become a slave to her own "hobbies," from the frenetic daily hair trims she gave herself to the incessant inspections of her children's clothes for bloodstains, the carpet for dangerous debris, packaged goods for possible tampering. Soon there was no interval in Colas' life when she was not just checking.

The narrator of Always Coca-Cola, Abeer Ward (fragrant rose, in Arabic), daughter of a conservative family, admits wryly that her name is also the name of her father’s flower shop. Abeer’s bedroom window is filled by a view of a Coca-Cola sign featuring the image of her sexually adventurous friend, Jana. From the novel’s opening paragraph—“When my mother was pregnant with me, she had only one craving. That craving was for Coca-Cola”—first-time novelist Alexandra Chreiteh asks us to see, with wonder, humor, and dismay, how inextricably confused naming and desire, identity and branding are. The names—and the novel’s edgy, cynical humor—might be recognizable across languages, but Chreiteh’s novel is first and foremost an exploration of a specific Lebanese milieu. Critics in Lebanon have called the novel “an electric shock.”

This book is about the Americanization of Yugoslav culture and everyday life during the nineteen-sixties. After falling out with the Eastern bloc, Tito turned to the United States for support and inspiration. In the political sphere the distance between the two countries was carefully maintained, yet in the realms of culture and consumption the Yugoslav regime was definitely much more receptive to the American model. For Titoist Yugoslavia this tactic turned out to be beneficial, stabilising the regime internally and providing an image of openness in foreign policy. Coca-Cola Socialism addresses the link between cultural diplomacy, culture, consumer society and politics. Its main argument is that both culture and everyday life modelled on the American way were a major source of legitimacy for the Yugoslav Communist Party, and a powerful weapon for both USA and Yugoslavia in the Cold War battle for hearts and minds. Radina Vučetić explores how the Party used American culture in order to promote its own values and what life in this socialist and capitalist hybrid system looked like for ordinary people who lived in a country with communist ideology in a capitalist wrapping. Her book offers a careful reevaluation of the limits of appropriating the American dream and questions both an uncritical celebration of Yugoslavia’s openness and an exaggerated depiction of its authoritarianism.

An illustrated history of the Coca-Cola soft drink company.