Allison Moore – författare

Comedy Characters: 2 males, 4 females When she's cast as the "last girl" in a low-budget slasher flick, Sheena thinks it's the big break she's been waiting for. But news of the movie unleashes her malingering mother's thwarted feminist rage, and Mom is prepared to do anything to stop filming...even if it kills her. The hilarious hit of 2009's Humana Festival of New American Plays at the Actors Theater of Louisville. "Screaming. Blood. Impalements. Meat hooks. Electric drills. Objectified sexy women. Crazy mother in wheelchair. Whaddya expect? It's a slasher movie." -Philadelphia Inquirer "...Slasher elicits laughs by intentionally indulging in everything that makes horror films atrociously unentertaining." -Broad Street Review

In Collapse Hannah tries desperately to hold the facade of her perfect life together even as her husband David mysteriously calls in sick to work. Day after day they struggle with infertility and Hannah herself is on the verge of being laid off. When Hannah's sister appears on their doorstep she brings with her a renegade attitude and an illicit package that send David and Hannah on a 12-hour odyssey into the heart of their deepest fears. Will they survive? Will their relationship

This book explores how children engage with sex and sexuality. Building on a conceptual and legal grounding in sexuality studies and the new sociology of childhood, the authors debate the age of consent, teenage pregnany, sexual diversity, sexualisation, sex education and sexual literacy, paedophilia, and sex in the digital age. Whilst Moore and Reynolds recognise the necessity of child protection and safeguarding in the context of risk, danger and harm, they also argue that where these stifle children’s sexual knowledge, understanding, expression and experience, they contribute to a climate of fear, ignorance and bad experiences or harms. What is necessary is to balance safeguarding with enabling, and encourage judicious understandings that advance from a rigid developmental model to one that recognises pleasure and excitement in children’s nascent sexual lives. Exploring that balance through their chosen issues, they seek to encourage changed thinking in professional, personal and academic contexts, and speculate that children might teach adults something about the way they think about sex.   Childhood and Sexuality will be of interest to students, scholars and professionals across a range of subjects and disciplines including sociology, social work, criminology, and youth studies.

This book explores how children engage with sex and sexuality. Building on a conceptual and legal grounding in sexuality studies and the new sociology of childhood, the authors debate the age of consent, teenage pregnany, sexual diversity, sexualisation, sex education and sexual literacy, paedophilia, and sex in the digital age. Whilst Moore and Reynolds recognise the necessity of child protection and safeguarding in the context of risk, danger and harm, they also argue that where these stifle children’s sexual knowledge, understanding, expression and experience, they contribute to a climate of fear, ignorance and bad experiences or harms. What is necessary is to balance safeguarding with enabling, and encourage judicious understandings that advance from a rigid developmental model to one that recognises pleasure and excitement in children’s nascent sexual lives. Exploring that balance through their chosen issues, they seek to encourage changed thinking in professional, personal and academic contexts, and speculate that children might teach adults something about the way they think about sex.  

Childhood and Sexuality will be of interest to students, scholars and professionals across a range of subjects and disciplines including sociology, social work, criminology, and youth studies.

The “honest, introspective, and harrowing” (Kirkus Reviews) true story of a young female cop who almost loses everything in a downward spiral of addiction—a career she loved, colleagues who respected her, and the island that was once her personal paradise—before finally seeking redemption.As a beautiful, ambitious, and fearless young woman, Allison Moore had everything going for her: She had been the star student of her recruit class and was quickly promoted to vice cop at the Maui Police Department, while earning the respect of her colleagues and a stellar reputation. But when a doomed love affair with another cop led Allison to seek desperate escape, her life took a sudden and violent plunge. Using her position of authority and skills of manipulation, Allison hid her addiction from her lover and her department for as long as possible. She fabricated an elaborate story that she had cancer and needed to seek treatment on the mainland, while actually traveling to get a steady supply of meth from a brutal Seattle drug dealer. When her intensifying dependence on meth put her at the mercy of the ruthless dealer, he made her a prisoner in his house, subjecting her to unthinkable physical and sexual abuse, and monitoring her every move through a web of hidden surveillance cameras. Astounding, gripping, and astonishingly candid, Shards spares no detail of Allison’s horrific experiences and the tangle of addiction and betrayal that cost her nearly everything.

In Embodying Relation Allison Moore examines the tensions between the local and the global in the art photography movement in Bamako, Mali, which blossomed in the 1990s after Malian photographers Seydou KeÏta and Malick SidibÉ became internationally famous and the Bamako Photography Biennale was founded. Moore traces the trajectory of Malian photography from the 1880s-when photography first arrived as an apparatus of French colonialism-to the first African studio practitioners of the 1930s and the establishment in 1994 of the Bamako Biennale, Africa's most important continent-wide photographic exhibition. In her detailed discussion of Bamakois artistic aesthetics and institutions, Moore examines the post-fame careers of KeÏta and SidibÉ, the biennale's structure, the rise of women photographers, cultural preservation through photography, and how Mali's shift to democracy in the early 1990s enabled Bamako's art scene to flourish. Moore shows how Malian photographers' focus on cultural exchange, affective connections with different publics, and merging of traditional cultural precepts with modern notions of art embody Caribbean philosopher and poet Édouard Glissant's notion of “relation” in ways that spark new artistic forms, practices, and communities.

In Embodying Relation Allison Moore examines the tensions between the local and the global in the art photography movement in Bamako, Mali, which blossomed in the 1990s after Malian photographers Seydou KeÏta and Malick SidibÉ became internationally famous and the Bamako Photography Biennale was founded. Moore traces the trajectory of Malian photography from the 1880s-when photography first arrived as an apparatus of French colonialism-to the first African studio practitioners of the 1930s and the establishment in 1994 of the Bamako Biennale, Africa's most important continent-wide photographic exhibition. In her detailed discussion of Bamakois artistic aesthetics and institutions, Moore examines the post-fame careers of KeÏta and SidibÉ, the biennale's structure, the rise of women photographers, cultural preservation through photography, and how Mali's shift to democracy in the early 1990s enabled Bamako's art scene to flourish. Moore shows how Malian photographers' focus on cultural exchange, affective connections with different publics, and merging of traditional cultural precepts with modern notions of art embody Caribbean philosopher and poet Édouard Glissant's notion of “relation” in ways that spark new artistic forms, practices, and communities.

In Embodying Relation Allison Moore examines the tensions between the local and the global in the art photography movement in Bamako, Mali, which blossomed in the 1990s after Malian photographers Seydou Keïta and Malick Sidibé became internationally famous and the Bamako Photography Biennale was founded. Moore traces the trajectory of Malian photography from the 1880s—when photography first arrived as an apparatus of French colonialism—to the first African studio practitioners of the 1930s and the establishment in 1994 of the Bamako Biennale, Africa''s most important continent-wide photographic exhibition. In her detailed discussion of Bamakois artistic aesthetics and institutions, Moore examines the post-fame careers of Keïta and Sidibé, the biennale''s structure, the rise of women photographers, cultural preservation through photography, and how Mali''s shift to democracy in the early 1990s enabled Bamako''s art scene to flourish. Moore shows how Malian photographers'' focus on cultural exchange, affective connections with different publics, and merging of traditional cultural precepts with modern notions of art embody Caribbean philosopher and poet Édouard Glissant''s notion of “relation” in ways that spark new artistic forms, practices, and communities.