The world's lone superpower...supreme guardian of democracy...and home of the blithely uninformed and epidemically obese. Welcome to America -- pull up a chair, click on the tube, and grab a donut. Concerned Citizen Peter Strupp is shocked and bothered by what he sees. It seems we're not as thin, smart, and good-looking as we like to think. Packed with real facts and statistics, Fat, Dumb, and Ugly takes readers on an eye-opening, laugh-out-loud, and at times horrifying tour of the numbers that shape our country: • Percentage of adults in the United States who are overweight: 64.5 • Percentage of Americans who believe they have actually spoken with Satan: 5 • Percentage of voters for whom Saturday Night Live and MTV are primary sources of information about presidential candidates: 16 • Average number of pink lawn flamingos sold annually in America: 250,000 A wickedly hilarious and addictive cultural snapshot of our nation of conspicuous consumers, fast-food fanatics, and dumbed-down dolts, Fat, Dumb, and Ugly casts a revealing spotlight on John Q. Public, the average American -- and it's not always pretty.

He's been called the best in the world at the mental game of tennis. Brad Gilbert's strokes may not be pretty, but looks aren't everything. He has beaten the Tour's biggest names -- all by playing his "ugly" game. Now, in Winning Ugly Gilbert teaches recreational players how to win more often without necessarily even changing their strokes. The key to success, he says, is to become a better thinking player -- to recognize, analyze, and capitalize. That means outthinking opponents before, during, and after a match; forcing him or her to play your game. Gilbert's unconventional advice includes: * How to identify the seven "Hidden Ad Points," and what to do when they come up * Six reasons why you should never serve first * How to beat a Lefty, a Retriever, a Serve-Volley player, and other troublesome opponents * How to keep a lead, or stop a match from slipping away * How to handle psyching and gamesmanship Winning Ugly is an invaluable combat manual for the court, and its tips include "some real gems," according to Tennis magazine. Ultimately, Winning Ugly will help you beat players who have been beating you.

THE STORY: The scene is a rundown shack in the Arizona desert, the home of Pewsey family. After an absence of a dozen years son Dowd Pewsey returns with his new wife, Penny, whom his family has never met. His arrival exacerbates the tensions and ob

Chronic illness forces you to slow down and reexamine your values, your choices, and the way you define yourself. This book offers companionship throughout the process, helping you face your challenges with dignity and grace.

In the South, one notion of “being ugly” implies inappropriate or coarse behavior that transgresses social norms of courtesy. While popular stereotypes of the region often highlight southern belles as the epitome of feminine power, women writers from the South frequently stray from this convention and invest their fiction with female protagonists described as ugly or chastised for behaving that way. Through this divergence, “ugly” can be a force for challenging the strictures of normative southern gender roles and marriage economies. In Being Ugly: Southern Women Writers and Social Rebellion, Monica Carol Miller reveals how authors from Margaret Mitchell to Monique Truong employ “ugly” characters to upend the expectations of patriarchy and open up more possibilities for southern female identity. Previous scholarship often conflates ugliness with such categories as the grotesque, plain, or abject, but Miller disassociates these negative descriptors from a group of characters created by southern women writers. Focusing on how such characters appear prone to rebellious and socially inappropriate behavior, Miller argues that ugliness subverts assumptions about gender by identifying those who are unsuitable for the expected roles of marriage and motherhood. As opposed to familiar courtship and marriage plots, Miller locates in fiction by southern women writers an alternative genealogy, the ugly plot. This narrative tradition highlights female characters whose rebellion offers a space for re-imagining alternative lives and households in opposition to the status quo. Reading works by canonical writers like Zora Neale Hurston, Flannery O’Connor, and Eudora Welty, along with recent texts by contemporary authors like Helen Ellis, Lee Smith, and Jesmyn Ward, Being Ugly offers an important new perspective on how southern women writers confront regressive ideologies that insist upon limited roles for women.

This study offers an original and innovative collection of fresh approaches to the investigation of the concept of ugliness. It is divided into three parts: the idea of ugliness; Kantian conceptions of the ugly; and ugliness and art. The papers in all three sections deal with problems in the way that aesthetics has understood the concept of the ugly, in aesthetic experience, in fine art, and in contrast with the beautiful. These are new papers from a range of scholars from diverse philosophical backgrounds, and use the most recent literature in their areas of expertise. There is no other book available that collects the latest research in this field, and, as such, it will be a key contribution to recent and growing theoretical interest in the place of the ugly in aesthetics.

Plain ugly examines depictions of physically repellent characters in a striking range of early modern literary and visual texts, offering fascinating insights into the ways in which ugliness and deformity were perceived and represented, particularly with regard to gender and the construction of identity. Available in paperback for the first time, the book focuses closely on English literary culture but also engages with wider European perspectives, drawing on a wide array of primary sources including Italian and other European visual art. Offering illuminating close readings of texts from both high and low culture, it will interest scholars in English literature, cultural studies, women’s studies, history and art history, as well as postgraduate and undergraduate students in these disciplines. As an accessible and absorbing account of the power dynamics informing depictions of ugliness (and beauty) in relation to some of the quirkiest literary and visual material to be found in early modern culture, it will also appeal to a wider audience.