This volume of poems, prose, and musings is the first published work from Michelle, encouraged by her family, friends, and followers of her Facebook page. Michelle has endured much hardship in her life, as so many do, and has found within her a strength she couldnt have imagined she was capable of. By sharing her words and thoughts, Michelle hopes to be an inspiration for others to find their inner strength and chase their dreams. Michelle writes a lot of poetry about she or her, inspired by the women whove inspired and empowered her and others throughout her life and wishes to pass on that empowerment to all sensitive souls and playful hearts.

In 60s Deep South America young Mariah Kin Santos struggles to find her identity. Living with her aunts and abandoned by her mother, she sets out to search for her father. But when she finds him she discovers more than she bargained for.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1969.

"Now, after one dark kiss from a dangerous boy, I can steal someone's soul, or their life. If I give in to the constant hunger inside me, I hurt anyone I kiss. If I don't, I hurt myself"--P. [4] of cover.

She doesn't see dead people, but… She senses when someone near her is about to die. And when that happens, a force beyond her control compels her to scream bloody murder. Literally. Kaylee just wants to enjoy having caught the attention of the hottest guy in school. But a normal date is hard to come by when Nash seems to know more about her need to scream than she does. And when classmates start dropping dead for no apparent reason, only Kaylee knows who'll be next…

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women’s risible deaths tell us about the politics of female joy? Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women’s amusement has been theorized and demonized, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomized the tension between subversive pleasure and its violent repression. Hennefeld traces the social politics of women’s laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen’s cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world.