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Rates of less perceptible social–behavioral–emotional disorders thought to be based in neurobiological brain differences have burgeoned, though much of disability studies remains focused on the need to challenge compulsory able-bodiedness. This chapter examines instead diverse families living with adult sons’ and daughters’ invisible disabilities, asking how mothers may challenge compulsory able-mindedness.

This chapter is based on 15 in-depth interviews conducted in 2017 and 2018 with mothers originally interviewed between 2003 and 2008.

The accounts foreground tensions for those at the boundaries of “normality” in a culture that valorizes citizen’s independence, productivity, and heroic overcoming of any inability. Mothers of “precariously normal” adult sons and daughters invited to reflect on their earlier accounts reveal both the power of such dominant narratives and the possibilities to disrupt and challenge this public storytelling.

Findings of this study point to the alternative narratives and identities sought by disability studies and bring invisible social–behavioral–emotional disabilities into discussions that have largely centered on visible physical disabilities. These findings also underscore the complex similarities and differences in families’ experiences of disability across class and race divides, while suggesting the need for institutional change and greater, less punitive, public resources.

This chapter updates earlier research that analyzed mergers, collaborations, and similar trends in LIS education, and provides a more comprehensive current summary of those trends. Three distinct patterns are beginning to emerge in both organizational structure and collaboration: changes in the nature of LIS program partnerships within parent educational institutions; the impact on LIS education by prominent academic associations that are not reliant on ALA accreditation recognition; and the growth in the number and type of academic offerings in LIS schools themselves. Among some notable changes are the establishment of the Consortium of iSchools Asia Pacific (CiSAP), continued growth in the iSchool caucus and its increasing international membership. Additionally the number of dual degree master’s programs in which LIS departments partner is on the rise, as is the number of degrees now being offered at LIS schools (both at the undergraduate and graduate levels) that are not “traditional” MLS degrees. Inter-institutional collaborative MLIS programs are also emergent, evident in such programs as the Web-based Information Science Education (WISE) consortium. The data presented here seem to suggest that the face of LIS education continues to change as the 21st century gets underway.

Globalisation accompanied by the rapid development of the information and communication technology (ICT) has largely boosted international trade in services over the past decade or so. Because services account for a higher proportion of production costs, firms are taking every opportunity to go for lower-cost solutions for the provision of business process services. International sourcing of business support services has, therefore, been a preferred solution to the ongoing cost pressures and related skill shortages experienced in many developed countries.

This chapter considers the influence of horror on the production of commercial gay pornography. I see this influence reflected especially in the production and popularity of gay pornographic films inspired by horror franchises from the slasher and ‘torture porn’ cycles that have been remade in recent decades. Nine texts are selected for analysis – from the slasher genre: Bryan Kenny’s 2010 A Nightmare on Twink Street (inspired by the A Nightmare on Elm Street series), Andy Kay’s 2012 Black XXXmas (inspired by Black Christmas), Frank Fuder and Angel Skye’s 2009 Halloweiner: Friday the Fuckteenth and Chi Chi LaRue’s 2016 Scared Stiff (both inspired by the Friday the 13th series), Bromo’s 2017 Cream for Me (Scream series); and from the torture porn genre: Jett Blakk’s 2006 Bonesaw, John Bruno’s 2006 Rammer and Bryan Kenny’s 2010 Raw I and 2011 (with Andy Kay) Raw II (inspired by the Saw franchise). The specificity of the horror genre is addressed, as is the importance of gender. But particular focus is directed toward the structural aspects of gay porn parodies and the degree to which horror parodies in particular have the potential to blend pornographic homosex with graphic violence, perhaps most extreme in the slasher and torture porn horror variants. Other potentialities are also explored, such as for the easing of narrative/sex porn tensions.