The narrative re-tellings of the life, reign, and death of the English King Edward II (reigned 1307–1327) present a unique opportunity for scholars of sexuality in the early modern era. This is because the works of authors like Christopher Marlowe, Michael Drayton, Sir Francis Hubert, Elizabeth Cary, and Richard Niccols were all inspired by the public, cultural memory fashioned from Edward’s same-sex love affair with Piers Gaveston. As such, each of them presents a particular representation of and a specific discourse about male-male sexual relations in the Renaissance. In other words, what these works present is a concentrated body of literature about same-sex love in the early modern era: works that openly and frankly explore the possible origins of the love, the reasons and causes for it; works that explore the ramifications of male-male romantic relationships; works that explore the sexual politics and sociocultural dynamics of same-sex romantic partnerships; and works that describe and denote same-sex love from an English Renaissance perspective. This study looks at each of the major Renaissance texts about Edward II and examines the means through which each text understands and analyzes the nature of male-male same-sex love. From Marlowe’s crafting of a lover-identity for Edward to Drayton’s obsession with Marlowe’s version of (gay) history; from Hubert’s Augustinian construction of Edward’s nature to Cary’s identification with the fallen king to Niccols’ inspired exemplum, what each of these works demonstrates is that the “love that dare not speak its name” would not be silenced, at least not in the case of Edward and Gaveston. When one sees the name Edward II, one also sees his same-sex loves. The correlation has become ingrained into our public recall of history. Thus, as far as the world is concerned, Edward II was—and ever will be—the gay king.

This collection of essays focuses on the girl sleuth, made famous by Nancy Drew but also characterized by other famous detectives like Cherry Ames, Trixie Belden, Linda Carlton, and even in contemporary media by Veronica Mars and Hermione Granger of the Harry Potter series. Topics include the disputed origins of Nancy Drew and the Stratemeyer Syndicate; the intertwined relationships between the Syndicate and Nancy Drew's many ghostwriters; the distinct and evolving textual identities of the Cherry Ames series; the adaptation of the traditional archetype by contemporary girl detectives like Veronica Mars, Lulu Dark, and Ingrid Levin-Hill; and the ways in which Harry Potter's Hermione Granger, while a central character in the series, is often at odds with the male-centric, fantasy-genre world of Harry Potter himself. Instructors considering this book for use in a course may request an examination copy here.

Few movie genres have highlighted the male body more effectively than the "sword-and-sandal" film, where the rippling torso and the bulging muscle are displayed for all to appreciate. Carrying his phallic sword and dressed in traditional garb calculated to bring attention to his magnificent physique, the sword-and-sandal hero is capable of toppling great nations, rescuing heroines, defeating monsters, and generally saving the day. Each of these essays examines the issues of masculinity and utility addressed in the sword-and-sandal genre. The contributors offer insights on a film form which showcases its male protagonists as heroic, violent, fleshy, and, in the end, extremely useful.

Girls' Series Fiction and American Popular Culture examines the ways in which young female heroines in American series fiction have undergone dramatic changes in the past 150 years, changes which have both reflected and modeled standards of behavior for America’s tweens and teen girls. Though series books are often derided for lacking in imagination and literary potency, that the majority of American girls have been exposed to girls’ series in some form, whether through books, television, or other media, suggests that this genre needs to be studied further and that the development of the heroines that girls read about have created an impact that is worthy of a fresh critical lens. Thus, this collection explores how series books have influenced and shaped popular American culture and, in doing so, girls’ everyday experiences from the mid nineteenth century until now. The collection interrogates the cultural work that is performed through the series genre, contemplating the messages these books relay about subjects including race, class, gender, education, family, romance, and friendship, and it examines the trajectory of girl fiction within such contexts as material culture, geopolitics, socioeconomics, and feminism.

Despite the fact that Star Trek: Deep Space Nine ended over twenty-five years ago, there has yet to be a stand-alone assessment of the series. This collection corrects that omission, examining what made Deep Space Nine so unique within the Star Trek universe, and how that uniqueness paved the way for an altogether new, entirely different vision for Star Trek. If the Star Trek slogan has always been "to boldly go where no one has gone before," then Deep Space Nine helped to bring in a new renaissance of serialized television that has become normal practice. Furthermore, Deep Space Nine ushered in critical discussions on race, gender, and faith for the franchise, science fiction television and American lives. It relished in a vast cast of supporting characters that allowed for the investigation of psychosocial relationships--from familial issues to interpersonal and interspecies conflict to regional strife--that the previous Star Trek series largely overlooked. Essays explore how Deep Space Nine became the most richly complicated "sci-fi" series in the entire Star Trek pantheon.

A selection of older literary criticism on John Donne.

THE ASCENSION BEGINS. A Catholic bishop. A Quaker prayer leader. A Methodist minister. A Mormon ward leader. An entire congregation of Seventh Day Adventists. What do they have in common? They all minister to people's spiritual needs. And someone-or something-is ripping them to shreds for it. A BLOODY WARNING. Police detective Caldwell "Cal" Evans, still three weeks shy of completing rehab, is called in on the case. His only clue is a chilling message written in blood at the first murder scene: "Leave the Christ alone. He does not belong to you." THE SERPENT SHALL REIGN. With bodies piling up, Cal and his partner, Velvet Rabinowitz, chase leads involving snake-handling cults, the Dead Sea Scrolls, and an ancient ceremony left unfinished for two thousand years. With the help of a graduate student and an enigmatic Roman Catholic priest, the two detectives do more than fight for their lives. .THEY FIGHT FOR US ALL.

This postmodern twist on the "if it wasn't for you kids" mystery genre is a side-splitting, gender-bending romp. It is a sophisticated work with a wonderful sense of nuance, subtlety and insider satire. Comprised of a series of related short stories, Susan Slutt takes its name from the lead character, announcing immediately its critigue of mainstream fiction. Important and humorous, this book is for all sophisticated readers.