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The thing about Jane Spring by Sharon Krum (2005)

Jane Spring is no nonsense lawyer in the D.A. office, but Jane has one problem she can’t get a second date. After watching Doris Day marathon, Jane realizes that Doris always got her man. So Jane decides to act like Doris. While everyone around Jane thinks she has lost her mind, Jane realizes for the first time she is happy and Jane might even get the guy.

Here Today  by Ann M. Martin. (Scholastic Press)

Ellie’s family lives on Witch Tree Lane, along with the other fascinating misfits in town. Ellie has many friends on the street, some of whom function as substitute mothers during Doris’s many classes in dance, acting, and singing. Doris believes in making things happen. She has changed her name to that of the movie star, Doris Day. She talks the local A&P market into letting her be the Lehman’s Spam Spread girl

A Compendium of Skirts by Phyllis Moore

The History of Pandas” delves into the relationship between two sisters from the point of view of the narrator. Doris Day is important. Bright and Shiny jacket cover figures prominently. The narrator is DD#1. She is the Miss Day as “black exclamation point” and “catwoman on her way to church”. Narrator sister is DD#2. “the geometry of happiness”. She teaches preschool, is adored by her sister, and the children “swarm around her like pink happy planets”. But also…the narrator slips out, sis is also DD#3. “blizzard white. tundra. frozen completely solid”. This is something that only a sister can see, beneath the”happy isosceles triangles”and “bouncing parallelograms”. Yes, you must read this story, because…you want to know? right?

Series Footprints in the Butter: an Ingrid Beaumont & Hitchcock the Dog mystery. Delphi Books, 1999; Worldwide, 2004

Knock, knock. Who’s dead? When an artist is murdered, Ingrid’s only clues are elephant jokes, riddles, and a painting of Doris Day

Vanilla Pop.  By Joseph Lanza

Wednesday, February 2nd, Noon - 3pm on Irwin’s show
You may think that Pat Boone, Doris Day, and Tommy Page are the apex of bland music, but Joseph Lanza thinks they’re fascinating enough to have written a book about them. It’s called “Vanilla Pop”. Lanza, who also wrote “Elevator Music”, will guest on Irwin’s program Feb. 2 at 1:00 pm to discuss and spin his favorite vanilla sounds and stringbeat. Find out how “something so simple can be so profound.” Learn about “the history of sad songs done in a happy way.” Viva Bobby Vee!

Doris Day and Kitschy Melodies  by Phyllis Koestenbaum, Senior Scholar, IRWGLa Questa Press, 2001

Doris Day and Kitschy Melodies  , a collection of prose poems by renowned poet Phyllis Koestenbaum, is the eighth volume of poetry published by the Brooklyn native. Her previous acclaimed books include oh I can’t she says and Criminal Sonnets. Koestenbaum has received fellowships from the National Endowment for the Arts, the Fine Arts Work Center in Provincetown, and the Arts Council of Santa Clara County

Hollywood romantic comedy
States of the union, 1934–65 (isbn 0-7190-7079-1) byKathrina Glitre‘

I feel that from the opening pages I am in the presence of an author who knows with absolute confidence what she is doing and that she has all the necessary skills to carry her project through. Kathrina Glitre’s book on the heyday of Hollywood romantic comedy seems to me destined to become a classic of its kind.’
Brian McFarlane, Editor of the Encyclopedia of British Cinema
This book explores the changing representation of the couple, focusing on themes of marriage, equality and desire. Glitre moves far beyond the usual screwball territory to consider cycles of production between 1934 and 1965, and her distinctive central concern is with the representation of the couple as exemplified by three star duos: Myrna Loy and William Powell, Katharine Hepburn and Spencer Tracy, and Doris Day and Rock Hudson.
Glitre offers explanations of genre, as well as detailed analysis of screwball, career woman and sex comedy. Each cycle is placed in context to analyse cultural discourses around heterosexuality, gender, romance and love. This structure also enables a more sophisticated understanding of such conventions as masquerade, gender inversion and the happy ending.
Kathrina Glitre is Senior Lecturer in Film Studies at the University of the West of England
Contents
Introduction
Part I: Hollywood romantic comedy
1. Genre, cycles and critical traditions
Part II: Marriage
2. The same, but different: marriage, remarriage and screwball comedy
3. Making marriage fun: Myrna Loy and William Powell
Part III: Equality
4. A little difference: equality and the career woman comedy
5. Economy and excess: Spencer Tracy and Katharine Hepburn
Part IV: Desire
6. Possess me: consuming desires in the sex comedy
7. There must be a boy! Doris Day and Rock Hudson
Conclusion: the extraordinary couple