Testosterone makes us stronger, happier, and smarter. It also makes us meaner, more violent and more selfish. A scientific look into the vast and unexpected influence testosterone has on our behavior, our society, and our bodies. The brain of every man—and every woman—is shaped by this tiny molecule from before birth: it propels our drive for exploration and risk, for competition and creation, and even our survival. The effects of testosterone permeate the traditions, philosophy, and literature of every known culture—without it, the world would be a drastically different place. Testosterone also has a role in humanity's darker side, contributing to violence, hubris, poverty, crime, and selfishness. Recent revelations of the science of testosterone show that high levels will deplete compassion and generosity, and even reduce the affection we show our children. In The Virility Paradox, internationally renowned oncologist and prostate cancer researcher Charles Ryan explores this complex chemical system responsible for a diverse spectrum of human behaviors and health in both men and women. Ryan taps his vast experience treating prostate cancer with testosterone-lowering therapy, observing that this often leads to profound changes in the patients' perspectives on their lives and relationships. Often, for the better. Ryan uses the journeys of these patients and others to illustrate the vast and sometimes unexpected influence testosterone has on human lives. Through the stories of real men and women, he also explores the connections between testosterone and conditions like dementia, autism, and cancer, as well as the biological underpinnings of sexual assault and the effects it has on everything from crime to investing to everyday choices we make. Integrating the molecular and the medical, sociology and storytelling, The Virility Paradox;offers a fascinating look at how one hormone has shaped history, and the connections between our biology, our behavior, and our best selves.

Questioning both the popular condemnation of violent representation and the notion that violence can be constructive by empowering the identity of an integrated adult self, Wesley identifies a revealing pattern of "violent adventure" in recent fiction by American men.

Fascist Virilities exposes the relation between rhetoric and ideology. Barbara Spackman looks at Italian fascism as a matter of discourse, with "virility" as the master code that articulates and melds its disparate elements. In her analysis, rhetoric binds together the elements of ideology, with "virility" as the key. To reveal how this works, Spackman traces the circulation of "virility" in the discourse of the Italian regime and in the rhetorical practices of Mussolini himself. She tracks the appearance of virility in two of the sources of fascist rhetoric, Gabriele D'Annunzio and F.T. Marinetti, in the writings of the futurist Valentine de Saint Point and the fascist feminist Teresa Labriola, and in the speeches of Mussolini. A critical and timely contribution to the current reappraisal of fascist ideology, this book will interest anyone concerned with the relations between gender, sexuality, and fascist discourse.

Victims of the Book uncovers a long-neglected but once widespread subgenre: the fin-de-siècle novel of formation in France. In the final decades of the nineteenth century, social commentators insistently characterized excessive reading as an emasculating illness that afflicted French youth. Novels about and geared toward adolescent male readers were imbued with a deep worry over young Frenchmen’s masculinity, as evidenced by titles like Crise de jeunesse (Youth in Crisis, 1897), La Crise virile (Crisis of Virility, 1898), La Vie stérile (A Sterile Life, 1892), and La Mortelle Impuissance (Deadly Impotence, 1903). In this book, François Proulx examines a wide panorama of these novels, as well as polemical essays, pedagogical articles, and medical treatises on the perceived threats posed by young Frenchmen’s reading habits. Fin-de-siècle writers responded to this pathologization of reading with a profusion of novels addressed to young male readers, paradoxically proposing their own novels as potential cures. In the early twentieth century, this corpus was critically revisited by a new generation of writers. Victims of the Book shows how André Gide and Marcel Proust in particular reworked the fin-de-siècle paradox to subvert cultural norms about literature and masculinity, proposing instead a queer pact between writer and reader.

Lehman brings together new work on masculinity in film by established film scholars, new academics, performance artists, and cultural critics. The essays analyze trends from the role of gay men in saving heterosexuality to the emergence of new queer cinema.

This book effectively brings out the multivalence of the poetry of both Emily Dickinson and Sylvia Plath without sensationalizing either the writers or their work. Although it begins by selecting and demarcating various poems by the two authors thematically, it adopts a multi-pronged approach to the two writers that dissolves all water-tight compartments, and provides a holistic view of the issues raised through the poetry, and the similarities and differences in the approaches, of the two women.