Alice Wood

Just as raucous, ravishing and brimming with camp as the drag stars who inspired them, these 50 cocktails are destined for the spotlight. With a foreword by drag legend and Drag Race superstar Raja Gemini, Dragtails will add a spring to your step, a bounce to your weave and a shimmer to your lip gloss. Each Dragtail is brought to life with an inventive illustration that echoes the charisma, uniqueness, nerve and talent of the particular queen that inspired it. Along with ingredients and methods, an ode to the artist explains the inspiration for the drink. You’ll die for a: Baltimore Mud Pie – a thick, velvety, naughty creation dripping with chocolate sauce inspired by the filthiest woman ever, Divine Sponge Queen – a yellow and green layered cocktail inspired by one of Monet X Change’s most memorable looks, the sponge dress PB and Slay – a candy-sweet concoction inspired by the Willy Wonka for a whole generation of drag queens, RuPaul Drunk in Love – a divalicious drink inspired by Cara Melle that is sweet, salty and sticky if you’re nasty! Absolutely Alien – a fabulous twist on a classic Gin and Lemonade that is as blue and pink as Juno BirchPlus many more cocktails inspired by legendary queens such as: Danny La Rue, Delta Work, Hungry, Joe Black, Lawrence Chaney, Manila Luzon, Meatball, Peppermint, Shea Coulee, Jinkx Monsoon, Raja Gemini, The Vivienne, Adam All, Bianca del Rio, Biqtch Puddin’, Blue Hydrangea, The Boulet Brothers, Brooke Lynn Hytes, Coco Peru, Victoria Scone, Detox, Cherry Valentine, Laganja Estranja, Tayce, Katya, Lily Savage, BenDeLaCreme, Courtney Act, Landon Cider, Ginny Lemon, Pangina Heals, Priyanka, Adore Delano, Cheddar Gorgeous, Chi Chi Devayne, Choriza May, Creme Fatale, Envy Peru, Lady Red Couture, Hot Chocolate, Liquorice Black, Miss Toto, Nicky Doll, Bimini Bon Boulash, Alexis Saint-Pete. Fierce, fabulous, and packed with original cocktail recipes, Dragtails is the perfect book to get your Drag Race viewing party off with a (bing)-BANG-(bong).

This book explores responses to the strangeness and pleasures of modernism and modernity in four commercial British women’s magazines of the interwar period. Through extensive study of interwar Vogue (UK), Eve, Good Housekeeping (UK), and Harper’s Bazaar (UK), Wood uncovers how modernism was received and disseminated by these fashion and domestic periodicals and recovers experimental journalism and fiction within them by an array of canonical and marginalized writers, including Storm Jameson, Rose Macaulay, Gertrude Stein, and Virginia Woolf. The book’s analysis is attentive to text and image and to interactions between editorial, feature, and advertising material. Its detailed survey of these largely neglected magazines reveals how they situated radical aesthetics in relation to modernity’s broader new challenges, diversions, and opportunities for women, and how they approached high modernist art and literature through discourses of fashion and celebrity. Modernism and Modernity in British Women’s Magazines extends recent research into modernism’s circulation through diverse markets and publication outlets and adds to the substantial body of scholarship concerned with the relationship between modernism and popular culture. It demonstrates that commercial women’s magazines subversively disrupted and sustained contemporary hierarchies of high and low culture as well as actively participating in the construction of modernism’s public profile.

This book explores responses to the strangeness and pleasures of modernism and modernity in four commercial British women’s magazines of the interwar period. Through extensive study of interwar Vogue (UK), Eve, Good Housekeeping (UK), and Harper’s Bazaar (UK), Wood uncovers how modernism was received and disseminated by these fashion and domestic periodicals and recovers experimental journalism and fiction within them by an array of canonical and marginalized writers, including Storm Jameson, Rose Macaulay, Gertrude Stein, and Virginia Woolf. The book’s analysis is attentive to text and image and to interactions between editorial, feature, and advertising material. Its detailed survey of these largely neglected magazines reveals how they situated radical aesthetics in relation to modernity’s broader new challenges, diversions, and opportunities for women, and how they approached high modernist art and literature through discourses of fashion and celebrity. Modernism and Modernity in British Women’s Magazines extends recent research into modernism’s circulation through diverse markets and publication outlets and adds to the substantial body of scholarship concerned with the relationship between modernism and popular culture. It demonstrates that commercial women’s magazines subversively disrupted and sustained contemporary hierarchies of high and low culture as well as actively participating in the construction of modernism’s public profile.

After the Modernist literary experiments of her earlier work, Virginia Woolf became increasingly concerned with overt social and political commentary in her later writings, which are preoccupied with dissecting the links between patriarchy, patriotism, imperialism and war. This book unravels the complex textual histories of The Years (1937), Three Guineas (1938) and Between the Acts (1941) to expose the genesis and evolution of Virginia Woolf’s late cultural criticism. Fusing a feminist-historicist approach with the practices and principles of genetic criticism, this innovative study scrutinizes a range of holograph, typescript and proof documents within their historical context to uncover the writing and thinking processes that produced Woolf’s cultural analysis during 1931-1941. By demonstrating that Woolf’s late cultural criticism developed through her literary experimentalism as well as in response to contemporary social, political and economic upheavals, this book offers a fresh perspective on her emergence as a cultural commentator in her final decade and paves the way for further genetic enquiries in the field.

Through her journey from having it all to dealing with financial setbacks, Wood provides tools to help you organize your finances and understand which spending patterns are knocking you off-track. Ten years ago, Alice Wood was living a normal life, balancing her career, family, and finances with confidence. She knew instinctively how to handle money, until a brain injury sustained on a commercial airplane changed her life. After the injury, Alice encountered many new challenges; for the first time in her life she was overweight and in serious debt. Weight Watchers® allowed Alice to lose the weight and keep it off. Inspired by Weight Watchers'® daily discipline of journaling and the principle of group accountability, she decided to create a new and radically simple program to reclaim her financial stability. She called it Wealth Watchers. This simple program enabled her to meet her own financial goals and soon was helping thousands of others to do the same. Today, the Wealth Watchers program is an important part of the rapidly growing movement for financial literacy and empowerment sponsored by school, state, and federal government programs; corporations such as McDonald's and Visa; and several large financial institutions.

After the Modernist literary experiments of her earlier work, Virginia Woolf became increasingly concerned with overt social and political commentary in her later writings, which are preoccupied with dissecting the links between patriarchy, patriotism, imperialism and war. This book unravels the complex textual histories of The Years (1937), Three Guineas (1938) and Between the Acts (1941) to expose the genesis and evolution of Virginia Woolf’s late cultural criticism. Fusing a feminist-historicist approach with the practices and principles of genetic criticism, this innovative study scrutinizes a range of holograph, typescript and proof documents within their historical context to uncover the writing and thinking processes that produced Woolf’s cultural analysis during 1931-1941. By demonstrating that Woolf’s late cultural criticism developed through her literary experimentalism as well as in response to contemporary social, political and economic upheavals, this book offers a fresh perspective on her emergence as a cultural commentator in her final decade and paves the way for further genetic enquiries in the field.

Dolly and her friends are so excited! The Duke and Duchess are coming to town, and they have announced a Grand Ball for the Royal Princess. But who is the princess? As the friends get everything ready for the royal arrival, they wonder about her. How graceful she must be, with lots of servants to clean and sew for her. How wonderful! But when they do meet the princess, they are in for a big surprise!

It's Christmas Eve and Father Christmas is taking Dolly and Teddy on an adventure. But oh no! Teddy loses his scarf, and when they chase after it, the sleigh leaves without them. Stranded in the dark woods, Dolly and Teddy must find their own way home.

This study examines the physical form and cultic function of the biblical cherubim. Previous studies of the cherubim have placed too great an emphasis on archaeological and etymological data. This monograph presents a new synthetic study, which prioritises the evidence supplied by the biblical texts. Biblical exegesis, using literary and historical-critical methods, forms the large part of the investigation (Part I). The findings arising from the exegetical discussion provide the basis upon which comparison with etymological and archaeological data is made (Parts II and III). The results suggest that traditions envisaging the cherubim as tutelary winged quadrupeds, with one head and one set of wings, were supplanted by traditions that conceived of them as more enigmatic, obeisant beings. In the portrayal of the cherubim in Ezekiel and Chronicles, we can detect signs of a conceptual shift that prefigures the description of the cherubim in post-biblical texts, such as The Songs of the Sabbath Sacrifice and the Enochic texts.