Policing Sex in the Sunflower State: The Story of the Kansas State Industrial Farm for Women is the history of how, over a span of two decades, the state of Kansas detained over 5,000 women for no other crime than having a venereal disease. In 1917, the Kansas legislature passed Chapter 205, a law that gave the state Board of Health broad powers to quarantine people for disease. State authorities quickly began enforcing Chapter 205 to control the spread of venereal disease among soldiers preparing to fight in World War I. Though Chapter 205 was officially gender-neutral, it was primarily enforced against women; this gendered enforcement became even more dramatic as Chapter 205 transitioned from a wartime emergency measure to a peacetime public health strategy. Women were quarantined alongside regular female prisoners at the Kansas State Industrial Farm for Women (the Farm). Women detained under Chapter 205 constituted 71 percent of the total inmate population between 1918 and 1942. Their confinement at the Farm was indefinite, with doctors and superintendents deciding when they were physically and morally cured enough to reenter society; in practice, women detained under Chapter 205 spent an average of four months at the Farm. While at the Farm, inmates received treatment for their diseases and were subjected to a plan of moral reform that focused on the value of hard work and the inculcation of middle-class norms for proper feminine behavior. Nicole Perry's research reveals fresh insights into histories of women, sexuality, and programs of public health and social control. Underlying each of these are the prevailing ideas and practices of respectability, in some cases culturally encoded, in others legislated, enforced, and institutionalized. Perry recovers the voices of the different groups of women involved with the Farm: the activist women who lobbied to create the Farm, the professional women who worked there, and the incarcerated women whose bodies came under the control of the state. Policing Sex in the Sunflower State offers an incisive and timely critique of a failed public health policy that was based on perceptions of gender, race, class, and respectability rather than a reasoned response to the social problem at hand.

In and out of the Maasai Steppe looks at the Maasai women in the Maasai Steppe of Tanzania. The book explores their current plight - threatened by climate change - in the light of colonial history and post-independence history of land seizures. The book documents the struggles of a group of women to develop new livelihood income through their traditional beadwork. Voices of the women are shared as they talk about how it feels to share their husband with many co-wives, and the book examines gender, their beliefs, social hierarchy, social changes and in particular the interface between the Maasai and colonials.

In contrast to other literary genres, drama has received little attention in southern studies, and women playwrights in general receive less recognition than their male counterparts. In Marginalized: Southern Women Playwrights Confront Race, Region, and Gender, author Casey Kayser addresses these gaps by examining the work of southern women playwrights, making the argument that representations of the American South on stage are complicated by difficulties of identity, genre, and region. Through analysis of the dramatic texts, the rhetoric of reviews of productions, as well as what the playwrights themselves have said about their plays and productions, Kayser delineates these challenges and argues that playwrights draw on various conscious strategies in response. These strategies, evident in the work of such playwrights as Pearl Cleage, Sandra Deer, Lillian Hellman, Beth Henley, Marsha Norman, and Shay Youngblood, provide them with the opportunity to lead audiences to reconsider monolithic understandings of northern and southern regions and, ultimately, create new visions of the South.

Overworked and Undervalued: Black Women and Successin America is a collection of essays written by Black female scholars, educators, and students as well as public policy, behavioral, and mental health professionals. The contributors' share their experiences and frustrations with White America which continues to demand excessive labor and one-sided relationships of Black women while it simultaneously diminishes them. The book describes the ongoing struggle for women of color in general, but Black women in particular, which derives from the experience that only certain parts of our identities are deemed acceptable. The essays reflect on the events of the last few years and the toll the related stress has taken on each author. As a whole, the book offers its readers an opportunity to gain insight into these women's experiences and to find their place in supporting the Black women in their lives.

Contributions by Frederick Luis Aldama, Melissa Burgess, Susan Kirtley, Rachel Luria, Ursula Murray Husted, Mark O'Connor, Allan Pero, Davida Pines, Tara Prescott-Johnson, Jane Tolmie, Rachel Trousdale, Elaine Claire Villacorta, and Glenn Willmott Lynda Barry (b. 1956) is best known for her distinctive style and unique voice, first popularized in her underground weekly comic Ernie Pook's Comeek. Since then, she has published prolifically, including numerous comics, illustrated novels, and nonfiction books exploring the creative process. Barry's work is genre- and form-bending, often using collage to create what she calls "word with drawing" vignettes. Her art, imaginative and self-reflective, allows her to discuss gender, race, relationships, memory, and her personal, everyday lived experience. It is through this experience that Barry examines the creative process and offers to readers ways to record and examine their own lives. The essays in Contagious Imagination: The Work and Art of Lynda Barry, edited by Jane Tolmie, study the pedagogy of Barry's work and its application academically and practically. Examining Barry's career and work from the point of view of research-creation, Contagious Imagination applies Barry's unique mixture of teaching, art, learning, and creativity to the very form of the volume, exploring Barry's imaginative praxis and offering readers their own. With a foreword by Frederick Luis Aldama and an afterword by Glenn Willmott, this volume explores the impact of Barry's work in and out of the classroom. Divided into four sections-Teaching and Learning, which focuses on critical pedagogy; Comics and Autobiography, which targets various practices of rememorying; Cruddy, a self-explanatory category that offers two extraordinary critical interventions into Barry criticism around a challenging text; and Research-Creation, which offers two creative, synthetic artistic pieces that embody and enact Barry's own mixed academic and creative investments-this book offers numerous inroads into Barry's idiosyncratic imagination and what it can teach us about ourselves.