In Not Far Away, a semi-fictional memoir, Lois Beardslee gives a chilling acount of racism, particularly that leveled against Native women, in language that is supple, evocative, often comical, and always incisive. Her fictional heroine, the teacher Ima Pipiig (pronounced "buh-BEEG"), endures humiliating insults from school administrators, fellow teachers, students, and callous neighbors. For years, she suffers in silence, believing that opposing bigotry would only fuel its caustic flames-but then she begins to speak out. Scattered among the chapters chronicling Ima's experiences are essays and speeches written by the author herself, blurring the line between fiction and fact and creating a kind of resounding echo of resistance that is the author's response to racism.

Meat Puppet Cabaret is a dark fantasy novel that restores the perverse sex, bad drugs and violent rock 'n' roll to contemporary folklore. It starts from a weird idea: what if Jack the Ripper were a demon summoned by the black magician John Dee to steal Princess Diana's baby Allegra from the scene of the car crash in Paris? What if Allegra were hidden in a children's home in East London, but then 14 years later escaped? The novel follows Allegra's adventures as she quests to discover her true identity in a nightmare alternate England. She encounters King Charles in orbital exile, Stalinist bioplasma engineer Natasha Supanova, the conspiratorial Osiris Club, drug alchemist Eddie Boy Krishna, ex-DJ and reality TV showman Mark 23 and gangland queens the Karma Twins along the way before finally confronting John Dee in his hideout beneath Parliament Hill on Hampstead Heath. This is a novel that takes the legacy of H. P. Lovecraft and updates it for a mediamatic technopagan world.

In Not Far Away, a semi-fictional memoir, Lois Beardslee gives a chilling acount of racism, particularly that leveled against Native women, in language that is supple, evocative, often comical, and always incisive. Her fictional heroine, the teacher Ima Pipiig (pronounced 'buh-BEEG'), endures humiliating insults from school administrators, fellow teachers, students, and callous neighbors. For years, she suffers in silence, believing that opposing bigotry would only fuel its caustic flames but then she begins to speak out. Scattered among the chapters chronicling Ima's experiences are essays and speeches written by the author herself, blurring the line between fiction and fact and creating a kind of resounding echo of resistance that is the author's response to racism.

Rachel's Children is a true story, based on real events. It is an engaging and humorous account of a contemporary Ojibwa household and the woman and her children who are at its core. As their lives unfold, we understand how traditional beliefs and oral history help Rachel and her family cope as they encounter racism and educational discrimination in rural northern Michigan. When a white educator arrives in Rachel's household to learn about "Indians," she discovers the harsh reality of backwoods life. Beardslee is the queen of sucker punches-she writes in an unexpected combination of ethnography, theatrical script, and novel, echoing the Ojibwa style of storytelling. Her absorbing story about survival of the Native American family encourages a greater understanding of cultural diversity, and will be valuable for instructors in Native studies, multicultural education, women's studies, and anthropology.

This work tunnels into the collective unconscious of the 1990s, offering a core sample of transglobal style culture. This collection of pieces from Steve Beard is a mix of celebrity interviews, personality profiles, event reviews, Q&As, industry exposes, and conceptual lines of escape. Covering print, film, electronica, porn, cyberfeminism, high theory, meta-media, art, rock & roll and drugs, this book also features Damien Hirst, William Gibson, J.G. Ballard, Dennis Hopper, Disney, Marsall McLuhan, William Burroughs, Paul Virilio, Philip K. Dick and Elvis.