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In ancient fertility carvings, artists would drill holes into the woman’s body to signify penetrability, which is the basis of Autobiography of a Wound: allowing those wounds and puncture marks to speak through the fertility figures. The wounds are chronicled through letters and poems addressed to F (F stands for the fertility carvings themselves, which are being addressed as one unified deity), and A (Aphrodite, who is being referenced as a general deity of womanhood, a figurine that reappears throughout the poems, and a symbol that is referenced or portrayed in almost every fertility figurine or carving). Autobiography of a Wound reconstructs the narrative surrounding female pathos and the idea of the hysteric girl.
The dawn of folk rock comes to life in Jerry Burgan’s unforgettable memoir of the pre-psychedelic 1960s and the summer that changed everything. As a naïve folksinger from Pomona, California, Burgan was thrust to the forefront of the counterculture and its aftermath. The Byrds, the Rolling Stones, the Mamas and Papas, Barry McGuire, Bo Diddley and many others make appearances in this 50th Anniversary reminiscence by the surviving cofounder of WE FIVE, the San Francisco electro-folk ensemble whose million-seller, "You Were On My Mind,” entered the world two months before Bob Dylan plugged in an electric guitar at the Newport Folk Festival. Vying with the Byrds to record the first folk-rock hit, Burgan and his lifelong friend Mike Stewart embarked on a road they thought well paved by the latter's older brother, Kingston Trio member John Stewart. Little did they realize that they would join the largest-ever American generation in an ecstatic, sometimes tortured, journey of invention and disillusion. Wounds to Bind bears witness to a lost and hopeful convergence in American history—that missing link between the folk and rock eras—when Bob Dylan and Sammy Davis Jr. were played on the same radio station in the same hour. A survivor of the human realignments, tragedies and triumphs that followed, Burgan tracks down the demons that drove the genius of We Five cofounder Mike Stewart and sheds light on the 40-year enigma of what became of the band’s reclusive lead singer, Beverly Bivens, a forerunner of Grace Slick, Linda Ronstadt, and Stevie Nicks.
'A magnificent and devastating work of art. There is a raging anger here, and a deep sorrow, but at the core Haydar gives us truths about love. This is one of the most important books I've ever read.' Bri Lee 'I am from a family of strong women.' Amani Haydar suffered the unimaginable when she lost her mother in a brutal act of domestic violence perpetrated by her father. Five months pregnant at the time, her own perception of how she wanted to mother (and how she had been mothered) was shaped by this devastating murder. After her mother's death, Amani began reassessing everything she knew of her parents' relationship. They had been unhappy for so long - should she have known that it would end like this? A lawyer by profession, she also saw the holes in the justice system for addressing and combating emotional abuse and coercive control. Amani also had to reckon with the weight of familial and cultural context. Her parents were brought together in an arranged marriage, her mother thirteen years her father's junior. Her grandmother was brutally killed in the 2006 war in Lebanon, adding complex layers of intergenerational trauma. Writing with grace and beauty, Amani has drawn from this a story of female resilience and the role of motherhood in the home and in the world. In The Mother Wound, she uses her own strength to help other survivors find their voices. WINNER OF THE NATIONAL BIOGRAPHY AWARD 2022 MICHAEL CROUCH AWARD FOR A DEBUT WORK WINNER OF THE VICTORIAN PREMIER'S LITERARY AWARD FOR NON-FICTION 2022 WINNER OF THE MATT RICHELL AWARD FOR NEW WRITER OF THE YEAR 2022 WINNER OF THE 2021 SYDNEY MUSIC, ARTS & CULTURE (SMAC) AWARDS SHORTLISTED FOR THE ABIA BIOGRAPHY OF THE YEAR 2022 SHORTLISTED FOR THE NSW PREMIER'S LITERARY AWARDS THE DOUGLAS STEWART PRIZE FOR NON-FICTION 2022 SHORTLISTED FOR THE NSW PREMIER'S LITERARY AWARDS THE MULTICULTURAL NSW AWARD 2022 SHORTLISTED FOR THE NED KELLY AWARD FOR BEST TRUE CRIME 2022 SHORTLISTED FOR THE QUEENSLAND LITERARY AWARDS 2022 NON-FICTION BOOK AWARD LONGLISTED FOR THE WALKLEY BOOK AWARD 2021 Praise for The Mother Wound 'Shattering, unforgettable, beautifully told.' - Randa Abdel-Fattah 'Gripping, transcendent, tender and, at times, infuriating. With a daughter's heart and a lawyer's mind, Amani Haydar maps the territory that connects the wars we fight abroad to the wars we endure in our homes.' - Jess Hill
In 1983, when Evans came up with the vision for the first-ever memorial on the National Mall to honor women who’d worn a military uniform, she wouldn’t be deterred. She remembered not only her sister veterans, but also the hundreds of young wounded men she had cared for, as she expressed during a Congressional hearing in Washington, D.C.: “Women didn’t have to enter military service, but we stepped up to serve believing we belonged with our brothers-in-arms and now we belong with them at the Vietnam Veterans Memorial. If they belong there, we belong there. We were there for them then. We mattered.” In the end, those wounded soldiers who had survived proved to be there for their sisters-in-arms, joining their fight for honor in Evans’ journey of combating unforeseen bureaucratic obstacles and facing mean-spirited opposition. Her impassioned story of serving in Vietnam is a crucial backstory to her fight to honor the women she served beside. She details the gritty and high-intensity experience of being a nurse in the midst of combat and becomes an unlikely hero who ultimately serves her country again as a formidable force in her daunting quest for honor and justice.
In her book Self-Inflicted Wounds, comedian, actress, and cohost of CBS’s daytime hit show The Talk, Aisha Tyler recounts a series of epic mistakes and hilarious stories of crushing personal humiliation, and the personal insights and authentic wisdom she gathered along the way. The essays in Self-Inflicted Wounds are refreshingly and sometimes brutally honest, surprising, and laugh-out-loud funny, vividly translating the brand of humor Tyler has cultivated through her successful standup career, as well as the strong voice and unique point of view she expresses on her taste-making comedy podcast Girl on Guy. Riotous, revealing, and wonderfully relatable, Aisha Tyler’s Self-Inflicted Wounds: Heartwarming Tales of Epic Humiliation is about the power of calamity to shape life, learning, and success.
The new edition of a prize-winning memoir-in-poems, a meditation on life as a queer Indigenous man—available for the first time in the United States “i am one of those hopeless romantics who wants every blowjob to be transformative.” Billy-Ray Belcourt’s debut poetry collection, This Wound Is a World, is “a prayer against breaking,” writes trans Anishinaabe and Métis poet Gwen Benaway. “By way of an expansive poetic grace, Belcourt merges a soft beauty with the hardness of colonization to shape a love song that dances Indigenous bodies back into being. This book is what we’ve been waiting for.” Part manifesto, part memoir, This Wound Is a World is an invitation to “cut a hole in the sky / to world inside.” Belcourt issues a call to turn to love and sex to understand how Indigenous peoples shoulder their sadness and pain without giving up on the future. His poems upset genre and play with form, scavenging for a decolonial kind of heaven where “everyone is at least a little gay.” Presented here with several additional poems, this prize-winning collection pursues fresh directions for queer and decolonial theory as it opens uncharted paths for Indigenous poetry in North America. It is theory that sings, poetry that marshals experience in the service of a larger critique of the coloniality of the present and the tyranny of sexual and racial norms.
San Francisco Chronicle best-seller. Wounds of Passion is a memoir about writing, love, and sexuality. With her customary boldness and insight, Bell Hooks critically reflects on the impact of birth control and the women's movement on our lives. Resisting the notion that love and writing don't mix, she begins a fifteen-year relationship with a gifted poet and scholar, who inspires and encourages her. Writing the acclaimed book Ain't I a Woman: Black Women and Feminism at the age of nineteen, she begins to emerge as a brilliant social critic and public intellectual. Wounds of Passion describes a woman's struggle to devote herself to writing, sharing the difficulties, the triumphs, the pleasures, and the dangers. Eloquent and powerful, this book lets us see the ways one woman writer works to find her own voice while creating a love relationship based on feminist thinking. With courage and wisdom she reveals intimate details and provocative ideas, offering an illuminating vision of a writer's life.
This is the compelling story of how the author's disfiguring scars guided her search for a connection with her mother, who died at her birth and, ultimately, led to her own psychological development. In this process, the scars became the sacred jewels that illuminated the pathway of self-understanding. Movingly told from a Jungian point of view and in the intimate context of analysis, it is not only the autobiography of a person with a lifelong dedication to understanding the psyche, but also a portrayal of the unconscious as it reveals itself throughout the course of that person's life. As a journey of the soul, the book includes dreams, art work and active imagination-all ways of accessing the archetypal dimension underlying body symptoms. Ms. Rothenberg explains, through focused work, how body symptoms and physical illness can help us to discover our personal myth. In her case, the journey led her to Africa and a study of the art of scarification, during which she interviewed shamans who helped her unveil the symbolic and spiritual meaning behind her own physical and psychological scars. Rothenberg explores wounding in a way that opens us to healing. It is the tale of a life lived consciously and with great integrity. She includes a rich variety of art work, images of cultural artifacts, and pictures from her visits with shamans.
In her debut novel, award-winning poet Brynne Rebele-Henry re-imagines the Orpheus myth as a love story between two teenage girls who are sent to conversion therapy after being caught together in an intimate moment. Abandoned by a single mother she never knew, 16-year-old Raya—obsessed with ancient myths—lives with her grandmother in a small conservative Texas town. For years Raya has fought to hide her feelings for her best friend and true love, Sarah. When the two are outed, they are sent to Friendly Saviors: a re-education camp meant to “fix” them and make them heterosexual. Upon arrival, Raya vows to assume the role of Orpheus, to return to the world of the living with her love—and after she, Sarah, and the other teen residents are subjected to abusive and brutal “treatments” by the staff, Raya only becomes more determined to escape. In a haunting voice reminiscent of Sylvia Plath and the contemporary lyricism of David Levithan, Brynne Rebele-Henry weaves a powerful inversion of the Orpheus myth informed by the disturbing real-world truths of conversion therapy. Orpheus Girl is a story of dysfunctional families, trauma, first love, heartbreak, and ultimately, the fierce adolescent resilience that has the power to triumph over darkness and ignorance. CW: There are scenes in this book that depict self-harm, homophobia, transphobia, and violence against LGBTQ characters.
A deluded mother who invented her past, an alcoholic father who couldn't deal with the present, a son who wondered if this could really be his family. Richard Glover's favourite dinner party game is called 'Who's Got the Weirdest Parents?'. It's a game he always thinks he'll win. There was his mother, a deluded snob, who made up large swathes of her past and who ran away with Richard's English teacher, a Tolkien devotee, nudist and stuffed-toy collector. There was his father, a distant alcoholic, who ran through a gamut of wives, yachts and failed dreams. And there was Richard himself, a confused teenager, vulnerable to strange men, trying to find a family he could belong to. As he eventually accepted, the only way to make sense of the present was to go back to the past - but beware of what you might find there. Truth can leave wounds - even if they are only flesh wounds. Part poignant family memoir, part hopeful search for the truth, this is a book for anyone who's wondered if their family is the oddest one on the planet. The answer: 'No'. There is always something stranger out there. PRAISE FOR FLESH WOUNDS 'Both poignant and wildly entertaining' - Sydney Morning Herald 'A new classic ... a breathtaking accomplishment in style and empathy' - The Australian 'Heartbreaking and hilarious ... I couldn't put it down' - Sun Herald 'Engrossing and extremely funny'- The Saturday Paper 'Not since Unreliable Memoirs by Clive James has there been a funnier, more poignant portrait of an Australian childhood.' - Australian Financial Review 'Sad, funny, revealing, optimistic and hopeful' - Jeanette Winterson