The Anonymous Us Project

Anonymity in donor conception hides the truth but anonymity in story-telling helps reveal it. The Anonymous Us Project is a safety zone for real and honest opinions about reproductive technologies and family fragmentation. We aim to share the experiences of voluntary and involuntary participants in these technologies, while preserving the dignity and privacy for story tellers and their loved ones. The Anonymous Us Project aims to fill out the conversation on reproductive technologies. The hope is that it will inspire more truth and transparency and help share healthier families and happier people.

The Anonymous Us Project acknowledges that many members of the 3PR (third party reproduction) community have serious opinions and valid experiences regarding these alternative family structures, and they'd like to add to the public discussion but feel hesitant to speak publicly due to privacy concerns. This project allows them an opportunity to be heard without revealing their identities or risking hurt to their loved ones. The Anonymous Us Project believes that while anonymity in reproduction hides the truth, anonymity in storytelling helps reveal it. We hope this project will fill out the conversation on 3PR. We hope it will inspire more truth and transparency. We hope it will guide researchers, scholars, and policy makers in asking the right questions and consider the full effects of these practices. We hope it will help shape healthier families and happier people.

In a unique visual dialogue, Deja View brings together the work of beloved photographer Martin Parr, master of capturing the art in everyday existence, with The Anonymous Project's archive of unidentified vintage slides, collected from across Europe and America. Surprising and delighting in their similarity, these affectionately matched images celebrate photography's power to capture the small moments of humour, warmth, ennui and absurdity that are in fact our most important of all.

What if you could change your life--without changing your life? Gretchen had a good marriage, two healthy daughters, and work she loved--but one day, stuck on a city bus, she realized that time was flashing by, and she wasn’t thinking enough about the things that really mattered. “I should have a happiness project,” she decided. She spent the next year test-driving the wisdom of the ages, current scientific studies, and lessons from popular culture about how to be happier. Each month, she pursued a different set of resolutions: go to sleep earlier, quit nagging, forget about results, or take time to be silly. Bit by bit, she began to appreciate and amplify the happiness that already existed in her life. Written with humour and insight, Gretchen’s story will inspire you to start your own happiness project. Now in a beautiful, expanded edition, Gretchen offers a wealth of new material including happiness paradoxes and practical tips on many daily matters: being a more light-hearted parent, sticking to a fitness routine, getting your sweetheart to do chores without nagging, coping when you forget someone’s name and more.

When the final episode of Buffy the Vampire Slayer aired in 2003, fans mourned the death of the hit television series. Yet the show has lived on through syndication, global distribution, DVD release, and merchandising, as well as in the memories of its devoted viewers. Buffy stands out from much entertainment television by offering sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. Yet it has also been central to changing trends in television production and reception. As a flagship show for two U.S. “netlets”—the WB and UPN—Buffy helped usher in the “post-network” era, and as the inspiration for an active fan base, it helped drive the proliferation of Web-based fan engagement. In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. Contributors engage with critical issues such as stardom, gender identity, spectatorship, fandom, and intertextuality. Collectively, they reveal how a vampire television series set in a sunny California suburb managed to provide some of the most biting social commentaries on the air while exposing the darker side of American life. By offering detailed engagements with Sarah Michelle Gellar’s celebrity image, science-fiction fanzines, international and “youth” audiences, Buffy tie-in books, and Angel’s body, Undead TV shows how this prime-time drama became a prominent marker of industrial, social, and cultural change. Contributors. Ian Calcutt, Cynthia Fuchs, Amelie Hastie, Annette Hill, Mary Celeste Kearney, Elana Levine, Allison McCracken, Jason Middleton, Susan Murray, Lisa Parks

Featuring sixty-seven illustrations, and providing an important reckoning and visualization of the previously hidden Jewish 'ghosts' within US art, Jewish Identities in American Feminist Art addresses the veiled role of Jewishness in the understanding of feminist art in the United States. From New York city to Southern California, Lisa E. Bloom situates the art practices of Jewish feminist artists from the 1970s to the present in relation to wider cultural and historical issues. Key themes are examined in depth through the work of contemporary Jewish artists including: Eleanor Antin Judy Chicago Deborah Kass Rhonda Lieberman Martha Rosler and many others. Crucial in any study of art, visual studies, women's studies and cultural studies, this is a new and lively exploration into a vital component of US art.