Maternity in the Post-Apocalypse: Novelistic Revisions of Dystopian Motherhood deconstructs the ways in which women novelists have reconceived the post-apocalyptic genre in recent decades through narratives centered on heroic maternal characters. These writers have placed midwives, pregnant women, and mothers at the forefront of their novels, transforming them from the hapless victims of male oppressors to protagonists who are instrumental in transforming the post-apocalyptic social landscape from one that attempts to reconstruct a patriarchal past to one that safeguards, validates, and even lauds maternity as a form of empowerment. In a novelistic future devastated landscape in which human civilizations are shattered and waver at the brink of extinction, women who embody facets of maternity are taking the reins of rebuilding human societies by overturning patriarchal assumptions of femininity, reclaiming intersectional autonomy, and (re)visioning the possibilities for a declining anthropocene.

This collection examines the child’s role in contemporary post-apocalyptic films and television.. By exploring the function of child characters within a dystopian framework, this volume illustrates how traditional notions of childhood are tethered to sites of adult conflict and disaster, a connection that often works to reaffirm the “rightness” of past systems of social order.

While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010–2020), ABC's reality franchises, The Bachelor (2002–present) and The Bachelorette (2003–present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.

Two Best Friends Make It through a Pregnancy, with All its Gut-Busting Hilarity and Gross Bits Maternity isn’t all sunshine and rainbows and natural glows. It’s also elastic waistbands, hot flashes, and throbbing breasts! When Jillian Parsons’s best friend forever, Allison Baerken, finds herself knocked up, both women are thrown into a nine-month roller coaster ride of emotions—even though only one of them is pregnant. Say No to Placenta Pics is the ultimate BFF’s uncensored, tell-all guide to the down and dirty of pregnancy for all badass moms-to-be (and their nonpregnant friends watching from the side lines) who desperately need a joke over the next nine months. Together, Allison and Jillian ride the learning curves from first trimester to after birth, rejecting standard pregnancy fluff in self-help books , exploring the issues about mother-to-be-hood no one else seems to have the guts to: The anti-sex appeal of maternity negligées Surviving the high school experience of online mommy groups Resisting the urge to overshare on Facebook Executing the right angles on a maternity photo shoot Listening to yet another birth story from a stranger Witty, tongue-in-cheek, and fearlessly relatable, Say No to Placenta Pics is the realest girl talk between two women who deliver a satirical breakdown of modern-day maternity and what it means to be, and not to be, a Mom

A REESE'S BOOK CLUB PICK * INSTANT NEW YORK TIMES BESTSELLER * BELLETRIST BOOK CLUB PICK * INDIE NEXT SELECTION * LIBRARY READS SELECTION * AMAZON EDITORS' CHOICE * WASHINGTON POST BEST OF THE YEAR The "terrifying, wise, tender, and thrilling" (R.O. Kwon) adventure story of a fugitive girl, a mysterious gang of robbers, and their dangerous mission to transform the Wild West. In the year of our Lord 1894, I became an outlaw. The day of her wedding, 17 year old Ada's life looks good; she loves her husband, and she loves working as an apprentice to her mother, a respected midwife. But after a year of marriage and no pregnancy, in a town where barren women are routinely hanged as witches, her survival depends on leaving behind everything she knows. She joins up with the notorious Hole in the Wall Gang, a band of outlaws led by a preacher-turned-robber known to all as the Kid. Charismatic, grandiose, and mercurial, the Kid is determined to create a safe haven for outcast women. But to make this dream a reality, the Gang hatches a treacherous plan that may get them all killed. And Ada must decide whether she's willing to risk her life for the possibility of a new kind of future for them all. Featuring an irresistibly no-nonsense, courageous, and determined heroine, Outlawed dusts off the myth of the old West and reignites the glimmering promise of the frontier with an entirely new set of feminist stakes. Anna North has crafted a pulse-racing, page-turning saga about the search for hope in the wake of death, and for truth in a climate of small-mindedness and fear.

The conclusion to Dani and Zoe's post-apocalyptic adventures. A year ago, the Virus killed off most people in the world. A year ago, strange things started happening to those who survived. Some of them transformed into something dark and sinister, while others evolved, becoming something more, something beyond human. A year ago, Dani and Zoe were lost. They traversed the country to find one another, losing some of the people dearest to them along the way. They fought for their right to simply live, uncovered long-buried secrets, and discovered irreversible truths. And after everything Dani and Zoe have been through—even with the battle wounds that they bear—they're still not safe. It's time for the struggling to end, for survivors to take back their lives, their families, their safety. It's time to really begin to live, and to do that, they must wait for the first rays of dawn. THE ENDING SERIES The Ending Beginnings: Omnibus Edition After The Ending Into The Fire Out Of The Ashes Before The Dawn World Before: A Collection of Stories THE ENDING LEGACY World After The Raven Queen * KEYWORDS: post-apocalyptic, post-apoc, viral apocalypse, superpowers apocalypse, psychic apocalypse, science fantasy, science fiction for women, sci fi for women, post-apocalyptic for women, post-apoc for women, new adult post-apocalyptic, new adult pa, new adult post-apoc, new adult sci fi, new adult science fiction, new adult dystopian, new adult apocalypse, new adult apocalyptic

This book examines how contemporary women novelists have successfully transformed and rewritten the conventions of post-apocalyptic fiction. Since the dawn of the new millennium, there has been an outpouring of writing that depicts the end of the world as we know it, and women writers are no exception to this trend. However, the book argues that their fiction is distinctive. Contemporary women’s work in this genre avoids conservatism, a nostalgic mourning for the past, and the focus on restoring what has been lost, aspects key to much male authored apocalyptic fiction. Instead, contemporary women writers show readers the ways in which patriarchy and neo-colonialism are intrinsically implicated in the disasters they envision, and offer qualified hope for a new beginning for society, culture and literature after an imagined apocalyptic event. Exploring science, nature and matter, the posthuman body, the maternal imaginary, time, narrative and history, literature and the word, and the post-secular, the book covers a wide variety of writers and addresses issues of nationality, race and ethnicity, as well as gender and sexuality.