Using a blend of cultural criticism, humor, and personal memoir akin to Jia Tolentino’s Trick Mirror or Grace Perry’s The 2000s Made Me Gay, Joelle Kidd writes about her evangelical adolescence through the lens of Christian pop culture of the early 2000s, giving readers a peek into this odd subculture and insight into how evangelicalism’s growing popularity around the turn of the millennium has shaped culture and politics — including today’s far right. An empathetic, funny, and sharply critical collection of essays exploring the Christian pop culture of the 2000s and its influence on today’s politically powerful evangelicalism In 1999, after three years of secular living in Eastern Europe, Joelle Kidd moved back to Canada and was enrolled in the strange world of an evangelical Christian school. In Jesusland, Joelle writes about the Christian pop culture that she was suddenly immersed in, from perky girl bands to modest styling tips, and draws connections between this evangelical subculture and the mainstream, a tense yet reciprocal relationship that both disavows the secular while employing its media markers. But none of this was just about catchy songs: every abstinence quiz in a teen magazine was laying the foundation for what would become a conservative Christian movement that threatens women’s healthcare, attacks queer and trans rights, and drives present-day political division. Through nine incisive, honest, and emotional essays, Jesusland exposes the pop cultural machinations of evangelicalism, while giving voice to aughts-era Christian children and teens who are now adults looking back at their time measuring the length of their skirts, and asking each other if their celebrity crush was Christian enough. With care and generosity, Jesusland shows us how the conservative evangelical movement became the global power it is today by exploring the pop culture that both reflected and shaped an entire generation of young people.

GWENDOLYN GOODE LIVES A CHARMED LIFE. As owner of an occult shop in downtown Salem, Massachusetts she’s accustomed to all things odd and otherworldly. But when a bloody animal sacrifice is left as a warning outside her place of business, the police seem to think Gwen might be the target of some truly evil-doers. Suddenly, her sunny existence is riddled with danger in the form of crazed pagans, rogue employees, and nefarious henchmen. And there’s only one man who can protect her until the storm passes... GRAHAM GRAVES HAS NO TIME FOR WITCHY NONSENSE. Not in his love life, and definitely not in his line of work. Despite the ever-present oddities of his hometown, the private investigator and acclaimed police consultant prides himself on staying objective in every case that comes across his desk. That all changes when Gwendolyn — a woman who gets under his skin like no other — finds herself in the crosshairs of dangerous criminals. Graham is determined to make her safe, even if her presence tests his steely resolve. But as their mutual dislike sizzles into unexpected attraction… he becomes even more determined to make her something else: HIS. BAD LUCK CHARM is a total standalone romance of 450+ pages, featuring cameos from a fortune-telling parrot, a modern day pirate, and a coven of well-meaning octogenarians. With characters that leap off the page and plenty of spooky twists and turns to keep you guessing, fans of Johnson's previous Boston Love Story series in particular will adore this blend of heat, humor, and suspense.

Decolonising the Camera trains Mark Sealy's sharp critical eye on the racial politics at work within photography, in the context of heated discussions around race and representation, the legacies of colonialism, and the importance of decolonising the university. Sealy analyses a series of images within and against the violent political reality of Western imperialism, and aims to extract new meanings and develop new ways of seeing that bring the Other into focus. The book demonstrates that if we do not recognise the historical and political conjunctures of racial politics at work within photography, and their effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. With detailed analyses of photographs - included in an insert - by Alice Seeley Harris, Joy Gregory, Rotimi Fani-Kayode and others, and spanning more than 100 years of photographic history, Decolonising the Camera contains vital visual and written material for readers interested in photography, race, human rights and the effects of colonial violence.