Gold Digger 104

Gina brings along Kylie and Elroy on another dig as part of her research into the Age of Wonders. But when they dig up the last of the three Centuria helmets, a trio of competitors, sore over a perceived theft of their site claim, strike to take the treasure for themselves. Britanny spares Gina's group any major harm, but the trio accidentally take Elroy with them, and Gina has to find and save him before they unleash ancient powers too extreme to control!

Here’s the complete lineup for our 104th issue—technically, the 2nd anniversary issue, but since we had our big celebration with our 100th issue (whose number seems a more significant milestone), we simply note this new landmark. As always, we have a terrific lineup of original, modern, and classic fiction in multiple genres. Every reader is sure to find something to enjoy, no matter your tastes! Mysteries / Suspense / Adventure: “Cargo,” by John M. Floyd [Michael Bracken Presents short story] “The Case of the Polluted Punch” by Hal Charles [Solve-It-Yourself Mystery] “Carry-on” by Wayne J. Gardiner [Barb Goffman Presents short story] “Dead Blood Runs Purple,” by Frank Kane [novelet] The Adventures of Tyler Tatlock, by Dick Donovan [short story collection] Science Fiction & Fantasy: “The Fine Art of Dreaming,” by Larry Tritten [short story] “Masters of the Metropolis,” by Lin Carter [short story] “Awakening,” by Bryce Walton [short story] “Fuzzy Head,” by Frank Belknap Long [novella] “Warrior of Two Worlds,” by Manly Wade Wellman [novella]

From The Real Housewives of Atlanta to Flavor of Love, reality shows with predominantly black casts have often been criticized for their negative representation of African American women as loud, angry, and violent. Yet even as these programs appear to be rehashing old stereotypes of black women, the critiques of them are arguably problematic in their own way, as the notion of “respectability” has historically been used to police black women’s behaviors. The first book of scholarship devoted to the issue of how black women are depicted on reality television, Real Sister offers an even-handed consideration of the genre. The book’s ten contributors—black female scholars from a variety of disciplines—provide a wide range of perspectives, while considering everything from Basketball Wives to Say Yes to the Dress. As regular viewers of reality television, these scholars are able to note ways in which the genre presents positive images of black womanhood, even as they catalog a litany of stereotypes about race, class, and gender that it tends to reinforce. Rather than simply dismissing reality television as “trash,” this collection takes the genre seriously, as an important touchstone in ongoing cultural debates about what constitutes “trashiness” and “respectability.” Written in an accessible style that will appeal to reality TV fans both inside and outside of academia, Real Sister thus seeks to inspire a more nuanced, thoughtful conversation about the genre’s representations and their effects on the black community.

By the year 2000 more than 350 Internet agencies were plying the email-order marriage trade, and the business of matching up mostly Western men with women from Asia, Eastern Europe, and Latin America had become an example of globalization writ large. This provocative work opens a window onto the complex motivations and experiences of the people behind the stereotypes and misconceptions that have exploded along with the practice of transnational courtship and marriage. Combining extensive Internet ethnography and face-to-face fieldwork, Romance on a Global Stage looks at the intimate realities of Filipinas, Chinese women, and U.S. men corresponding in hopes of finding a suitable marriage partner. Through the experiences of those engaged in pen pal relationships—their stories of love, romance, migration, and long-distance dating—this book conveys the richness and dignity of women's and men's choices without reducing these correspondents to calculating opportunists or naive romantics. Attentive to the structural, cultural, and personal factors that prompt women and men to seek marriage partners abroad, Romance on a Global Stage questions the dichotomies so frequently drawn between structure and agency, and between global and local levels of analysis.

Feminine Lost explores the premise that all human beings are constructed of two energies, one masculine and one feminine. With the rise of the feminist movement, many women have migrated to their masculine side, some to the extent of losing access to their feminine side altogether. As a consequence, men have found their way to their feminine side. This process has had huge consequences for relationships between men and women, often leaving them feeling unsatisfied within their relationships or lonely without one. Feminine Lost examines female archetypes – the Andro Woman, the Cougar, the Good Doer, and more - that have come to the fore since the feminist movement, pairing them with their masculine opposite, and looking at how the process of attraction functions under these circumstances. When the feminine principle breaks down, the ramifications are many. Feminine Lost breaks through the misunderstanding of what it means to be feminine; it is not an outward appearance but something far more significant.

Contributions by Jacob Agner, Sarah Gilbreath Ford, Katie Berry Frye, Michael Kreyling, Andrew B. Leiter, Rebecca Mark, Suzanne Marrs, Tom Nolan, Michael Pickard, Harriet Pollack, and Victoria Richard Eudora Welty’s ingenious play with readers’ expectations made her a cunning writer, a paramount modernist, a short story artist of the first rank, and a remarkable literary innovator. In her signature puzzle-texts, she habitually engages with familiar genres and then delights readers with her transformations and nonfulfillment of conventions. Eudora Welty and Mystery: Hidden in Plain Sight reveals how often that play is with mystery, crime, and detective fiction genres, popular fiction forms often condescended to in literary studies, but unabashedly beloved by Welty throughout her lifetime. Put another way, Welty often creates her stories’ secrets by both evoking and displacing crime fiction conventions. Instead of restoring order with a culminating reveal, her story-puzzles characteristically allow mystery to linger and thicken. The mystery pursued becomes mystery elsewhere. The essays in this collection shift attention from narratives, characters, and plots as they have previously been understood by unearthing enigmas hidden within those constructions. Some of these new readings continue Welty’s investigation of hegemonic whiteness and southern narratives of race—outlining these in chalk as outright crime stories. Other essays show how Welty anticipated the regendering of the form now so characteristic of contemporary women mystery writers. Her tender and widely ranging personal correspondence with the hard-boiled American crime writer Ross Macdonald is also discussed. Together these essays make the case that across her career, Eudora Welty was arguably one of the genre’s greatest double agents, and, to apply the titles of Macdonald’s novels to her inventiveness with the form, she is its “underground woman,” its unexpected “sleeping beauty.”