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This volume is the continuation of the book Suicide in Modern Literature, edited by Josefa Ros Velasco. Considering the positive reception of this book, Ros Velasco launches the second part, entitled The Contemporary Writer and their Suicide. This time, leading representatives of various disciplines analyze the literary, philosophical, and biographical works of contemporary writers worldwide who attempted to commit suicide or achieved their goal, looking for covert and overt clues about their intentions in their writings. This book aims to continue shedding light on the social and structural causes that lead to suicide and on the suicidal mind, but also to show that people assiduous to writing usually reflect their intentions to commit suicide in their writings, to explain how these frequently veiled intentions can be revealed and interpreted, and to highlight the potential of artistic, philosophical, and autobiographical writing as a tool to detect suicidal ideation and prevent its consummation in vulnerable people. This book analyzes several case studies and their allusions to their contexts and the socio-structural and environmental violence and pressures they suffered, expressions of their will and agency, feelings of dislocation between the individual, reality, and existential alienation, and literary styles, writing techniques, and metaphorical language.
Suicide Century investigates suicide as an increasingly 'normalised' but still deeply traumatic and profoundly baffling act in twentieth-century writing.
From The Other Boleyn Girl to Fingersmith , this collection explores the popularity of female-centred historical novels in recent years. It asks how these representations are influenced by contemporary gender politics, and whether they can be seen as part of a wider feminist project to recover women's history.
A GOOD MORNING AMERICA BOOK CLUB PICK • A BOOK OF THE MONTH CLUB PICK • A LIBRARYREADS PICK “If you are someone who gravitates toward emotional gut punch reads, allow me to introduce you to this spectacular debut…”—BuzzFeed Here are three things you should know about my husband: He was the great love of my life despite his penchant for going incommunicado. He was, as far as I and everyone else could tell, perfectly happy. Which is significant because… On New Year’s Eve, he died. And here is one thing you should know about me: I found him. Bonus fact: No. I am not okay. Someday, Maybe is a stunning, witty debut novel about a young woman’s emotional journey through unimaginable loss, pulled along by her tight-knit Nigerian family, a posse of friends, and the love and laughter she shared with her husband. “Incisive and witty. I couldn’t put it down.”—Lolá Ákínmádé Åkerström, internationally bestselling author of In Every Mirror She's Black “A masterfully woven exposition on love and loss. Nwabineli is magic with words.”—Bolu Babalola, internationally bestselling author of Honey and Spice Don't miss Onyi Nwabineli's next stunning page-turner, ALLOW ME TO INTRODUCE MYSELF, where a former kidfluencer must overcome her toxic family, reclaim her identity and, ultimately, find the freedom to be herself...
This book analyzes the social and contextual causes of suicide, the existential and philosophical reasons for committing suicide, and the prevention strategies that modern fictional literature places at our disposal. They go through the review of Modern fictional literature, in the American and European geographical framework, following the rationales that modern literature based on fiction can serve the purpose of understanding better the phenomenon of suicide, its most inaccessible impulses, and that has the potential to prevent suicide. From the turn of the 20th century to the present, debates over the meaning of suicide became a privileged site for efforts to discover the reasons why people commit suicide and how to prevent this behavior. Since the French sociologist and philosopher Émile Durkheim published his study Suicide: A Study in Sociology in 1897, a reframing of suicide took place, giving rise to a flourishing group of researchers and authors devoting their efforts to understand better the causes of suicide and to the formation of suicide prevention organizations. A century later, we still keep on trying to reach such an understanding of suicide, the nature, and nuances of its modern conceptualization, to prevent suicidal behaviors. The question of what suicide means in and for modernity is not an overcome one. Suicide is an act that touches all of our lives and engages with the incomprehensible and unsayable. Since the turn of the millennium, a fierce debate about the state’s role in assisted suicide has been adopted. Beyond the discussion as to whether physicians should assist in the suicide of patients with unbearable and hopeless suffering, the scope of the suicidal agency is much broader concerning general people wanting to die.
A woman encounters a life filled with desires and emotions when she returns to Paris after suffering from a bout of depression and alcoholism in London.
This book attempts to deal with the problem of literary subjectivity in theory and practice. The works of six contemporary women writers — Doris Lessing, Anita Desai, Mahasweta Devi, Buchi Emecheta, Margaret Atwood and Toni Morrison — are discussed as potential ways of testing and expanding the theoretical debate. A brief history of subjectivity and subject formation is reviewed in the light of the works of thinkers such as Hobbes, Hume, Kant, Hegel, Marx, Nietzsche, Raymond Williams and Stephen Greenblatt, and the work of leading feminists is also seen contributing to the debate substantially.
How to Write a Suicide Note examines the life of a Chinese/Black woman who grew up passing for white, who grew up poor, who loves women but has always married white men. Writing has saved her life. It has allowed her to name the historical trauma--the racist, sexist, classist experiences that have kept her from being fully alive, that have screamed at her loudly and consistently that she was no good, and would never be any good-and that no one could love her. Writing has given her the creative power to name the experiences that dictated who she was, even before she was born, and write notes to them, suicide notes. Sherry Quan Lee believes writing saves lives; writing has saved her life. Acclaim for "How to Write a Suicide Note" "How to Write a Suicide Note is a haunting portrait of the daughter of an African mother and a Chinese father. Sherry dares to be who she isn't supposed to be, feel what she isn't supposed to feel, and destroys racial and gender myths as she integrates her bi-racial identity into all that she is. Through her raw honesty and vulnerability, Sherry captures a range of emotions most people are afraid to confront, or even share. Her work is a gift to the mental health community." --Beth Kyong Lo, M.A., Psychotherapist "Sherry Quan Lee offers us, in How to Write a Suicide Note, a deep breathing meditation on how love is under continuous revision. And like all the best Blues singers, Quan Lee voices the lowdown, dirty paces that living puts us through, but without regret or surrender." Wesley Brown, author of Darktown Strutters and Tragic Magic "I love the female aspects, the sex, and the strong voice Sherry Quan Lee uses to share her private life in How To Write A Suicide Note. I love the wit, the tongue-in-cheek, the trippiness of it all. I love the metaphors, especially the lover and suicide ones. I love the free-associations, the 'raving, ravenous, relentless' back and forth. Quan Lee breaks the rules and finds her genius. How to Write a Suicide Note is a passionate, risk-taking, outrageous, life-affirming book and love letter." Sharon Doubiago, author of Body and Soul, Hard Country; and other works Learn more about the author at www.SherryQuanLee.com Book #2 in the Reflections of History Series from Modern History Press www.ModernHistoryPress.com Modern History Press is an imprint of Loving Healing Press
For Tohko Amano, a third-year high school student and self-styled "book girl," being the head of the literary club is more than just an extracurricular activity. It's her bread and butter...literally! Tohko is actually a literature-gobbling demon, who can be found at all hours of the day munching on torn out pages from all kinds of books. But for Tohko, the real delicacies are hand-written stories. To satisfy her gourmet tastes, she's employed (rather, browbeaten) one Konoha Inoue, who scribbles away each day after school to satisfy Tohko's appetite. But when another student comes knocking on the literary club door for advice on writing love letters, will Tohko discover a new kind of delicacy?