Rachel Hatch

On the morning of Windland Cloud’s sixteenth birthday, she awoke from a frightening dream that left her feeling shaken and in desperate need of human company, but the house was empty. Her parents were nowhere to be found and they left no note. This adds to her sense of unease and the need to escape the residue from the dream and thoughts of her family’s dysfunctional life teetering on the edge of poverty, which is nearly unbearable. Windland grabs her hiking boots, laces up, and heads to a nearby state park to try and clear her mind. On the way there her fantastical journey begins… Falling off a mountain into the year 1896, dealing with a woman who wants her dead, and avoiding an overly suspicious sheriff are the downside of the adventure Fate throws her into. The upside seems to be rescuing a reclusive woman, who may hold the secret to how Windland can get home, and a blue-eyed Irishman who holds not only Windland’s heart but her future in his hands. Will she be able to return to her own time? And what will happen when she does? Windland’s Rescue is a coming of age tale with a cast of characters that span time and galaxies; energy grids and traveling portals; wicked women and secret rooms – and the ultimate need to find your way back home.

On the trail of her father's killer, Hatch finds the path leads to a remote village in Africa. A vicious warlord controls the area in a stranglehold of violence. Hatch finds a fight she never sought, but one her personal code won't let her walk away from.

Examines the bleak television comedies that illustrate the obsession of the white left with its own anxiety and suffering At the same time that right-wing political figures like Donald Trump were elected and reactionary socio-economic policies like Brexit were voted into law, representations of bleakly comic white fragility spread across television screens. American and British programming that featured the abjection of young, middle-class, liberal white people—such as Broad City, Casual, You’re the Worst, Catastrophe, Fleabag, and Transparent—proliferated to wide popular acclaim in the 2010s. Taylor Nygaard and Jorie Lagerwey track how these shows of the white left, obsessed with its own anxiety and suffering, are complicit in the rise and maintenance of the far right—particularly in the mobilization, representation, and sustenance of structural white supremacy on television. Nygaard and Lagerwey examine a cycle of dark television comedies, the focus of which are “horrible white people,” by putting them in conversation with similar upmarket comedies from creators and casts of color like Insecure, Atlanta, Dear White People, and Master of None. Through their analysis, they demonstrate the ways these non-white-centric shows negotiate prestige TV’s dominant aesthetics of whiteness and push back against the centering of white suffering in a time of cultural crisis. Through the lens of media analysis and feminist cultural studies, Nygaard and Lagerwey’s book opens up new ways of looking at contemporary television consumption—and the political, cultural, and social repercussions of these “horrible white people” shows, both on- and off-screen.