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Literary Nonfiction. Essays. Winner of the 2015 Essay Collection Competition, Selected by Wayne Koestenbaum. "Rarely have I come across tenderness, venom, and fire held so intimately, so exquisitely, as in Lily Hoang's A BESTIARY. This book would be impressive enough as a collection of finely-forged fragments, but as it weaves itself into an even more impressive whole, my hat came off. Lily Hoang writes like she has nothing to lose and everything at stake."--Maggie Nelson "A BESTIARY is a work of great subtlety, precision, intelligence, daring, and emotive keenness. It seems completely contemporary (by which I mean that it is unlike anything I've read and that it makes me want to change my own writerly procedures). With head-long, reckless, improvisatory gestures, Lily Hoang prompts us to rethink what literature today can dare to aspire to. Her intellectually magnanimous book's position on the threshold between recognizable 'literature' and some other vanguard form of performance/utterance made me feel happy and stimulated and dizzy (in a rapturous way) while I was reading it."--Wayne Koestenbaum "The most perfect use of fragmentation, myth, language, fairytale, and terrible beauty that I have ever seen in my life. I'm swooning. My faith in what writing can be has been restored."--Lidia Yuknavitch
A celebration of the visual contributions of the bestiary--one of the most popular types of illuminated books during the Middle Ages--and an exploration of its lasting legacy. Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures such as the unicorn, siren, and griffin; exotic beasts including the tiger, elephant, and ape; as well as animals native to Europe like the beaver, dog, and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork, and sculpture. With over 270 color illustrations and contributions by twenty-five leading scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst. Published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center May 14 to August 18, 2019.
Donika Kelly's fierce debut collection, longlisted for the 2016 National Book Award and winner of the 2015 Cave Canem Poetry Prize I thought myself lion and serpent. Thought myself body enough for two, for we. Found comfort in never being lonely. What burst from my back, from my bones, what lived along the ridge from crown to crown, from mane to forked tongue beneath the skin. What clamor we made in the birthing. What hiss and rumble at the splitting, at the horns and beard, at the glottal bleat. What bridges our back. What strong neck, what bright eye. What menagerie are we. What we've made of ourselves. --from "Love Poem: Chimera" Across this remarkable first book are encounters with animals, legendary beasts, and mythological monsters--half human and half something else. Donika Kelly's Bestiary is a catalogue of creatures--from the whale and ostrich to the pegasus and chimera to the centaur and griffin. Among them too are poems of love, self-discovery, and travel, from "Out West" to "Back East." Lurking in the middle of this powerful and multifaceted collection is a wrenching sequence that wonders just who or what is the real monster inside this life of survival and reflection. Selected and with an introduction by the National Book Award winner Nikky Finney, Bestiary questions what makes us human, what makes us whole.
NEW YORK TIMES BOOK REVIEW EDITORS’ CHOICE • Three generations of Taiwanese American women are haunted by the myths of their homeland in this spellbinding, visceral debut about one family’s queer desires, violent impulses, and buried secrets. “Gorgeous and gorgeously grotesque . . . Every line of this sensuous, magical-realist marvel is utterly alive.”—O: The Oprah Magazine FINALIST FOR THE LAMBDA LITERARY AWARD • LONGLISTED FOR THE VCU CABELL FIRST NOVELIST AWARD • LONGLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY O: The Oprah Magazine • NPR • The New York Public Library • Kirkus Reviews One evening, Mother tells Daughter a story about a tiger spirit who lived in a woman’s body. She was called Hu Gu Po, and she hungered to eat children, especially their toes. Soon afterward, Daughter awakes with a tiger tail. And more mysterious events follow: Holes in the backyard spit up letters penned by her grandmother; a visiting aunt arrives with snakes in her belly; a brother tests the possibility of flight. All the while, Daughter is falling for Ben, a neighborhood girl with strange powers of her own. As the two young lovers translate the grandmother’s letters, Daughter begins to understand that each woman in her family embodies a myth—and that she will have to bring her family’s secrets to light in order to change their destiny. With a poetic voice of crackling electricity, K-Ming Chang is an explosive young writer who combines the wit and fabulism of Helen Oyeyemi with the subversive storytelling of Maxine Hong Kingston. Tracing one family’s history from Taiwan to America, from Arkansas to California, Bestiary is a novel of migration, queer lineages, and girlhood. Praise for Bestiary “[A] vivid, fabulist debut . . . the prose is full of imagery. Chang’s wild story of a family’s tenuous grasp on belonging in the U.S. stands out with a deep commitment to exploring discomfort with the body and its transformations.”—Publishers Weekly
This Bestiary was created during the 13th century. The 136 illustrations afford insight into medieval interpretations of natural history, travellers' tales and mysticism. They are accompanied by a translation of the original Latin text.
Bestiaries are the most gloriously entertaining books to have come from the Middle Ages. Written and illuminated by monks, they describe every creature thought to exist in the medieval world and include all manner of fish, fowl, and mythological beast, however far-fetched. Pauline Baynes, whose original line illustrations for J. R. R. Tolkien's The Lord of the Rings and C. S. Lewis's The Lion, the Witch and the Wardrobe are known to millions, has revived twenty medieval and mischievous beasts, basing her tongue-in-cheek descriptions on various English bestiaries. Her delightful recreations of these fabulous beasts -- from phoenix to manticore, from bonnacon to yale -- hop, swoop, and gallop through the pages in antique splendor and will charm today's readers as readily as they astounded audiences centuries ago.
These original poems describe in a manner at once allusive and concrete a number of common animals. The creatures in Mr. Merrill's bestiary reflect upon the world and their places in it. They speak of their fears, conceits, triumphs, and disappointments. Mr. Merrill speaks of the raccoon, who "Teaches its foolish children... To know they take communion / When they wash their food in water"; of the mole, "I am not sure that I have eyes, / But I have never wept"; of the stallion, "Who hates with lifted head." He records the firefly -- "I was wiped into a comet / Across the face of childhood"; the nighthawk -- "I weave sunset fabric / Out of thunderheads"; the moth -- "I don't know why I love / Dim light..."; and the crow -- "The other birds are idiots." This volume is not, however, a random collection of animal poems; rather it presents the reflections of 28 separate personalities, which merge into a single statement. Each of the animals represented in these poems is handsomely illustrated in an original line and wash drawing by Robert James Foose, a well-known Kentucky artist.
From medieval bestiaries to Borges’s Book of Imaginary Beings, we’ve long been enchanted by extraordinary animals, be they terrifying three-headed dogs or asps impervious to a snake charmer’s song. But bestiaries are more than just zany zoology—they are artful attempts to convey broader beliefs about human beings and the natural order. Today, we no longer fear sea monsters or banshees. But from the infamous honey badger to the giant squid, animals continue to captivate us with the things they can do and the things they cannot, what we know about them and what we don’t. With The Book of Barely Imagined Beings, Caspar Henderson offers readers a fascinating, beautifully produced modern-day menagerie. But whereas medieval bestiaries were often based on folklore and myth, the creatures that abound in Henderson’s book—from the axolotl to the zebrafish—are, with one exception, very much with us, albeit sometimes in depleted numbers. The Book of Barely Imagined Beings transports readers to a world of real creatures that seem as if they should be made up—that are somehow more astonishing than anything we might have imagined. The yeti crab, for example, uses its furry claws to farm the bacteria on which it feeds. The waterbear, meanwhile, is among nature’s “extreme survivors,” able to withstand a week unprotected in outer space. These and other strange and surprising species invite readers to reflect on what we value—or fail to value—and what we might change. A powerful combination of wit, cutting-edge natural history, and philosophical meditation, The Book of Barely Imagined Beings is an infectious and inspiring celebration of the sheer ingenuity and variety of life in a time of crisis and change.
A preeminent medievalist presents a wonderful catalog of real and fanciful beasts, including the manticore, griffin, phoenix, amphivius, jaculus, and many other exotic animals. White's witty, erudite commentary on scientific and historical aspects enhances this survey of proto-zoology on which science is based and pre-scientific perceptions of the earth's creatures. 128 black-and-white illustrations.
The aim of this book is to explore the realm of the imaginary world of Greek mythology and present the reader with a categorization of monstrosity, referring to some of the most noted examples in each category.