'It has taken me several years of exploration, but I am at a place now where I see autism as neither an affliction nor a superpower. It's just the blueprint for who I am. There is no cure, but that's absolutely fine by me. To cure me of my autism would be to cure me of myself.' During the first thirty years of her life, comedy script writer Sara Gibbs had been labelled a lot of things - a cry baby, a scaredy cat, a spoiled brat, a weirdo, a show off - but more than anything else, she'd been called a Drama Queen. No one understood her behaviour, her meltdowns or her intense emotions. She felt like everyone else knew a social secret that she hadn't been let in on; as if life was a party she hadn't been invited to. Why was everything so damn hard? Little did Sara know that, at the age of thirty, she would be given one more label that would change her life's trajectory forever. That one day, sitting next to her husband in a clinical psychologist's office, she would learn that she had never been a drama queen, or a weirdo, or a cry baby, but she had always been autistic. Drama Queen is both a tour inside one autistic brain and a declaration that a diagnosis on the spectrum, with the right support, accommodations and understanding, doesn't have to be a barrier to life full of love, laughter and success. It is the story of one woman trying to fit into a world that has often tried to reject her and, most importantly, it's about a life of labels, and the joy of ripping them off one by one.

Autism is a profoundly contested idea. The focus of this book is not what autism is or what autistic people are, but rather, it grapples with the central question: what does it take for autistic people to participate in a shared world as equals with other people? Drawing from her close reading of a range of texts, by autistic authors, filmmakers, bloggers, and academics, Anna Stenning highlights the creativity and imagination in these accounts and also considers the possibilities that emerge when the unexpected and novel aspects of experience are attended to and afforded their due space. Approaching these narrative accounts in the context of both the Anthropocene and neoliberalism Stenning unpacks and reframes understandings about autism and identity, agency and mattering, across sections exploring autistic intelligibility, autistic sensibility, and community-oriented collaboration and care. By moving away from the non-autistic stories about autism that have, over time, dominated public conception of the autistic experience and relationships, as well as the cognitive and psychoanalytic paradigms that have reduced autism and autistic people to a homogeneous group, the book instead reveals the multiplicity of autistic subjectivities and their subsequent understandings of oppression. It calls on readers to listen to what autistic people have to say about the possibilities of resistance and solidarity against intersecting currents and eddies of power, which endanger all who challenge the neoliberal conception of Life. A stirring and meaningful departure from atomized accounts of neurological difference, Narrating the Many Autisms ponders big questions about its topic and finds clarity and meaning in the sense-making practices of autistic individuals and groups. It will appeal to scholarly readers across the fields of disability studies, cultural studies, critical psychology, sociology, anthropology, and literature. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

Autistic girls, especially those educated in mainstream environments, have often been missed or misdiagnosed. There is now, however, greater awareness of how autism can present in females, why these girls can remain ‘invisible’, and what education and health professionals can do to provide better support. Fully revised and updated, this practical book shines a light on the insights, opinions and experiences of autistic girls and women, providing a rich insight into school life from an autistic perspective. It explores the difficulties and disadvantages that autistic girls can face in educational settings and offers guidance on how to best support them, with a wealth of strategies reflecting good practice in the field of autism and education. The resource also contains a broad range of worksheets and activities on key issues and includes new sections on anxiety, masking, home life, social media, gender and sexual identity. Key features include: A wealth of case studies to illustrate different topics Guidance on best practice when working with autistic girls New audits to help staff and pupils to identify strengths and areas to improve Easy-to-implement strategies and tips to help professionals adapt to environments and policies for autistic students Activities and resources for young autistic females to support them in developing self-awareness, coping strategies and learning skills With the voices of autistic girls and young women woven throughout, drawing upon their experiences of education – from learning and communication, to friendships, transitions and interpreting the world – this is an essential resource for education and health professionals working with autistic girls, particularly in mainstream environments.

Natalie is a Bloomingdale’s salesgirl mooning over her ex-boyfriend; Felicia has been quietly in love with her boss for seventeen years; and Andie is a cynical private detective who specializes in cheating husbands. For these three women, as well as many others—a young model fresh from Alabama, a Hollywood star making her Broadway debut, an unemployed Brown grad who’s been faking a fabulous life on social media—everything is about to change . . . and all thanks to the power of one perfect little black dress.

This groundbreaking anthology, part of the Women, Theatre and Performance series, brings together an extraordinary mix of one-act and full length plays and solo performance texts written by women. Included in the volume are texts by Beatrice Herford, Ruth Draper, Zora Neale Hurston, and G.B. Stern, originally performed across commercial and amateur theaters in Britain and America. Some of the plays have remained unpublished since their original performance – Georgina Weldon's Not Alone, Clothilde Graves' Mother of Three, Rachel Crother's Ourselves, and Marie Stope's Our Ostriches. Others are anthologized here alongside plays with which they connect aesthetically and historically, for example, Edith Lyttelton's Warp and Woof, Elizabeth Robins' Votes for Women, Elizabeth Baker's Edith, Sophie Treadwell's Machinal, and Aimée Stuarts' Nine Till Six. The volume, for students and scholars, provides an accessible collection of texts exemplifying the range and breadth of women's theater writing from the 1880s to the early decades of the twentieth century.