Gold Digger 142

With the were-cat leader Xercie first co-opted and then captured, Dreadwing has freed the Orkrist tyrant Serpentus and left ethereal "bait" to lure all manner of beasts from other dimensions to destroy Xercie's home of Jag's Lair. Gina and Britanny fight the onslaught bravely, but Dreadwing's left evidence meant to break the fragile trust within Jade's ruling council, so the Diggers sisters will be left without backup!

On Jade, dragon queen T'mat holds council with the rulers of other races to start mounting preemptive defense against Dreadwing. However, the were-cat leader, Xercie, is still bitter over the dragons' lack of help for her people against Orkrist raiders years ago. When a thief is caught carrying an artifact leading to a vast, draconic treasure horde, she even calls in the Edge-Guard to investigate T'Mat for treachery!

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.

This second edition of Australian Bird Names is a completely updated checklist of Australian birds and the meanings behind their common and scientific names, which may be useful, useless or downright misleading! For each species, the authors examine the many-and-varied common names and full scientific name, with derivation, translation and a guide to pronunciation. Stories behind the name are included, as well as relevant aspects of biology, conservation and history. Original descriptions, translated by the authors, have been sourced for many species. As well as being a book about names, this is a book about the history of the ever-developing understanding of birds, about the people who contributed to this understanding and, most of all, about the birds themselves. This second edition has been revised to follow current taxonomy and understanding of the relationships between families, genera and species. It contains new taxa, updated text and new vagrants and will be interesting reading for anyone with a love of birds, words or the history of Australian biology and bird-watching.

This survey of Sally Potter’s work explores her cinematic development from the feminist reworking of La Bohème in Thriller to the provocative contemplation of romantic relationships after 9/11 in Yes. Catherine Fowler traces a clear trajectory of developing themes and preoccupations and shows how Potter uses song, dance, performance, and poetry to expand our experience of cinema beyond the audiovisual. Potter has relentlessly struggled against predictability and safe options. Again and again, her works grapple with the complexities of being a woman in charge. Instead of the quest to find a romantic partner that drives mainstream cinema, Potter’s films feature characters seeking answers to questions about their sexual, gendered, social, cultural, and ethnic identities. They find answers by retelling stories, investigating mysteries, and traveling and interacting with people. At the heart of Potter’s work is a concern with the ways narrative circumscribes women's ability to act, speak, look, desire, and think for themselves. Her first two films, Thriller and The Gold Diggers, largely deconstruct found stories, clichés, and images. By contrast, later films like Orlando and The Tango Lesson create new and original narratives that place female acts, voices, looks, desires, and thoughts at their center. Fowler’s analysis is supplemented by a detailed filmography, bibliography, and an extensive interview with the director.

"... a vitally new understanding that takes us from the terms of the representation of sexual difference to an anatomy of female subjectivity which will be widely influential." -- Stephen Heath "An original work likely to have significant impact on all those with an interest in the vibrant intersection of feminism, film theory, and psychoanalysis... " -- Naomi Schor "... powerfully argued study... impressive... " -- Choice "... important because of its innovative work on Hollywood's ideologically-charged construction of subjectivity.... what is exciting about The Acoustic Mirror is that it inspires one to reevaluate a number of now classical theoretical texts, and to see films with an eye to how authorship is constructed and subjectivity is generated." -- Literature and Psychology "As evocative as it is shrewdly systematic, the pioneering theory of female subjectivity formulated in the final three chapters will have wide impact as a major contribution to feminist theory." -- SubStance The Acoustic Mirror attempts to do for the sound-track what feminist film theory of the past decade has done for the image-track -- to locate the points at which it is productive of sexual difference. The specific focus is the female voice understood not merely as spoken dialogue, narration, and commentary, but as a fantasmatic projection, and as a metaphor for authorship.

Between 1896 and 1899, thousands of people lured by gold braved a grueling journey into the remote wilderness of North America. Within two years, Dawson City, in the Canadian Yukon, grew from a mining camp of four hundred to a raucous town of over thirty thousand people. The stampede to the Klondike was the last great gold rush in history. Scurvy, dysentery, frostbite, and starvation stalked all who dared to be in Dawson. And yet the possibilities attracted people from all walks of life—not only prospectors but also newspapermen, bankers, prostitutes, priests, and lawmen. Gold Diggers follows six stampeders—Bill Haskell, a farm boy who hungered for striking gold; Father Judge, a Jesuit priest who aimed to save souls and lives; Belinda Mulrooney, a twenty–four–year–old who became the richest businesswoman in town; Flora Shaw, a journalist who transformed the town's governance; Sam Steele, the officer who finally established order in the lawless town; and most famously Jack London, who left without gold, but with the stories that would make him a legend. Drawing on letters, memoirs, newspaper articles, and stories, Charlotte Gray delivers an enthralling tale of the gold madness that swept through a continent and changed a landscape and its people forever.