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"Avidly Reads Screen Time is a heartwarming, harrowing diary of our relationship with screens and the complicated feelings we have about them"--
"Avidly Reads Guilty Pleasures reclaims the femme fictions dismissed as "trash" to celebrate the surprisingly cathartic pleasures of domination, privilege, and the material trappings of patriarchal culture"--
“Here’s the thing with kissing: it matters intensely or not at all.” Mid-kiss, do you ever wonder who you are, who you’re kissing, where it’s leading? It can feel luscious, libidinal, friendly, but are we trying to make out something through our kissing? For Kathryn Bond Stockton, making out is a prism through which to look at the cultural and political forces of our world: race, economics, childhood, books, and movies. Making Out is Stockton’s memoir about a non-binary childhood before that idea existed in her world. We think about kissing as we accompany Stockton to the bedroom, to the closet, to the playground, to the movies, and to solitary moments with a book, the ultimate source of pleasure. Avidly Reads is a series of short books about how culture makes us feel. Founded in 2012 by Sarah Blackwood and Sarah Mesle, Avidly—an online magazine supported by the Los Angeles Review of Books—specializes in short-form critical essays devoted to thinking and feeling. Avidly Reads is an exciting new series featuring books that are part memoir, part cultural criticism, each bringing to life the author’s emotional relationship to a cultural artifact or experience. Avidly Reads invites us to explore the surprising pleasures and obstacles of everyday life.
“Opera is community, comfort, art, voice, breath, life. It’s hope.” All art exists to make life more bearable. For Alison Kinney, it was the wild, fantastical world of opera that transformed her listening and her life. Whether we’re listening for the first time or revisiting the arias that first stole our hearts, Avidly Reads Opera welcomes readers and listeners to a community full of friendship, passion, critique—and, always, beautiful music. In times of delirious, madcap fun and political turmoil, opera fans have expressed their passion by dispatching records into the cosmos, building fairy-tale castles, and singing together through the arduous work of social activism. Avidly Reads Opera is a love letter to the music and those who love it, complete with playlists, a crowdsourced tip sheet from ultra-fans to newbies, and stories of the turbulent, genre-busting, and often hilarious history of opera and its audiences. Across five acts—and the requisite intermission—Alison Kinney takes us everywhere opera’s rich melodies are heard, from the cozy bedrooms of listeners at home, to exclusive music festivals, to protests, and even prisons. Part of the Avidly Reads series, this slim book gives us a new way of looking at culture. With the singular blend of personal reflection and cultural criticism featured in the series, Avidly Reads Opera is an homage to the marvelous, sensational world of opera for the casual viewer.
“Theory offered us a way of understanding the world that, like so many youthful exuberances, was both vital and ridiculous.” As an avowed “theory head,” Jordan Alexander Stein confronts a contradiction: that the abstract, and often frustrating rigors of theory also produced a sense of pride and identity for him and his friends: an idea of how to be and a way to live. Although Stein explains what theory is, this is not an introduction or a how-to. Organized around five ways that theory makes us feel—silly, stupid, sexy, seething and stuck—Stein travels back to the late nineties to tell a story of coming of age at a particular moment and to measure how that moment lives on now. Avidly Reads is a series of short books about how culture makes us feel. Founded in 2012 by Sarah Blackwood and Sarah Mesle, Avidly—an online magazine supported by the Los Angeles Review of Books—specializes in short-form critical essays devoted to thinking and feeling. Avidly Reads is an exciting new series featuring books that are part memoir, part cultural criticism, each bringing to life the author’s emotional relationship to a cultural artifact or experience. Avidly Reads invites us to explore the surprising pleasures and obstacles of everyday life. This is a story about the emotional lives of ideas.
“Poetry has leapt out of its world and into the world” Poetry is everywhere. From Amanda Gorman performing “The Hill We Climb” before the nation at Joe Biden’s Presidential inauguration, to poems regularly going viral on Instagram and Twitter, more Americans are reading and interacting with poetry than ever before. Avidly Reads Poetry is an ode to poetry and the worlds that come into play around the different ways it is written and shared. Mixing literary and cultural criticism with the author’s personal and often intimate relationship with poetry, Avidly Reads Poetry breathes life into poems of every genre—from alphabet poems and Shakespeare’s sonnets to Claudia Rankine’s Citizen and Rupi Kaur’s Instapoetry—and asks: How do poems come to us? How do they make us feel and think and act when they do? Who and what is poetry for? Who does poetry include and exclude, and what can we learn from it? Each section links a reason why we might read poetry with a type of poem to help us think about how poems are embedded in our lives, in our loves, our educations, our politics, and our social media, sometimes in spite of, and sometimes very much because of, the nation we live in. Part of the Avidly Reads series, this slim book gives us a new way of looking at American culture. With the singular blend of personal reflection and cultural criticism featured in the series, Avidly Reads Poetry shatters the wall between poetry and “the rest of us.”
Ed Simon tells the story of Pittsburgh through this exploration of its hidden histories--the LA Review of Books calls it an "epic, atomic history of the Steel City." The land surrounding the confluence of the
Phillip Maciak examines filmic depictions of Jesus to argue that cinema developed as a model technology of secularism, training viewers for belief in a secular age. Cinematic depictions of an appearing and disappearing Christ became a powerful vehicle for Americans to navigate a rapidly modernizing society.
Romance's Rival argues that the central plot of the most important genre of the nineteenth century, the marriage plot novel, means something quite different from what we thought. In Victorian novels, women may marry for erotic desire--but they might, instead, insist on "familiar marriage," marrying trustworthy companions who can offer them socially rich lives and futures of meaningful work. Romance's Rival shows how familiar marriage expresses ideas of female subjectivity dating back through the seventeenth century, while romantic marriage felt like a new, risky idea. Undertaking a major rereading of the rise-of-the-novel tradition, from Richardson through the twentieth century, Talia Schaffer rethinks what the novel meant if one tracks familiar-marriage virtues. This alternative perspective offers new readings of major texts (Austen, the Bront s, Eliot, Trollope) but it also foregrounds women's popular fiction (Yonge, Oliphant, Craik, Broughton). Offering a feminist perspective that reads the marriage plot from the woman's point of view, Schaffer inquires why a female character might legitimately wish to marry for something other than passion. For the past half-century, scholars have valorized desire, individuality, and autonomy in the way we read novels; Romance's Rival asks us to look at the other side, to validate the yearning for work, family, company, or social power as legitimate reasons for women's marital choices in Victorian fiction. Comprehensive in its knowledge of several generations of scholarship on the novel, Romance's Rival convinces us to re-examine assumptions about the nature and function of marriage and the role of the novel in helping us not simply imagine marriage but also process changing ideas about what it might look like and how it might serve people.
The big picture : how Buffy the vampire slayer turned me into a TV critic -- The long con ("The Sopranos") -- The great divide : Norman Lear, Archie Bunker, and the rise of the bad fan -- Difficult women ("Sex and the city") -- Cool story, bro ("True detective," "Top of the lake" and "The fall") -- Last girl in Larchmont : the legacy of Joan Rivers -- Girls girls girls : "Girls," "Vanderpump rules," "House of cards and Scandal," "The Amy Schumer show," "Transparent" -- Confessions of the human shield -- How jokes won the election -- In praise of sex and violence : "Hannibal," "Law et order : SVU," "Jessica Jones," -- "The jinx," "The Americans" -- The price is right : what advertising does to TV -- In living color : Kenya Barris' -- Breaking the box : "Jane the virgin," "The comeback," "The good wife," "The newsroom," "Adventure time," "The leftovers," "High maintenance." -- Riot girl : Jenji Kohan's hot provocations -- A disappointed fan is still a fan ("Lost") -- Mr. big : how Ryan Murphy became the most powerful man in television.