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First published in 1991, Dirty Weekend is the story of a young woman who overcomes her fear and transforms herself from victim to avenger. Over the course of a very dirty weekend she goes out in the night and kills seven men and one myth. The men make the mistake of attacking her. The myth is that only women bleed. 'An act of writing that is avant-garde in the literal sense. A literary turning-point' - "Naomi Wolf, New Statesman & Society" 'A dark and brilliant book' - "The Daily Telegraph" 'Glinting, rapier wit' - "Publishers Weekly" 'Taut prose, black humour and a confrontational style make this a challenging and terrifyingly funny first novel' - "Time Out" 'I can still remember the visceral shock I felt as a young single woman reading Helen Zahavi's first novel, which burst upon a rather staid early-1990s U.K. literary scene like a firework. Every woman who has ever had a fantasy about taking revenge on a man can identify with its heroine' - "Louise Doughty, Wall Street Journal"
After interviewing a young farmer, writer Kristen Kimball gave up her urban lifestyle to begin a farm with her interviewee near Lake Champlain in northern New York.
An indispensable companion for 4WD adventurer keen on exploring and experiencing this magnificent corner of Australia's 'Sunshine State'. This book details 22 weekend 4WD adventures located within 4 hours drive of Brisbane.
There’s nothing I wouldn’t do for my best friend. Like, hide the fact I’ve been in love with her for years. Or agree to be her fake boyfriend when we have to return to her hometown for her exes wedding. Little does Jillian know this is what I’ve been waiting for. It’s a dream come true. I finally get to touch her and love her in all the ways I’ve been dying to show her. For one weekend only, she’s mine, even if she thinks it’s fake. Pretending to love her is easy. I want her to be mine forever. Getting Jillian to admit it’s what she wants too, is another thing. On or off the ice, I have no problems fighting dirty to get what I want. But this is one fight I might just lose.
The Russian critic and theorist Mikhail Bakhtin is once again in favor, his influence spreading across many discourses including literature, film, cultural and gender studies. This book provides the most comprehensive introduction to Bakhtin’s central concepts and terms. Sue Vice illustrates what is meant by such ideas as carnival, the grotesque body, dialogism and heteroglossia. These concepts are then placed in a contemporary context by drawing out the implications of Bakhtin’s writings, for current issues such as feminism and sexuality. Vice’s examples are always practically based on specific texts such as the film Thelma and Louise, Helen Zahavi’s Dirty Weekend and James Kelman's How late it was, how late.
Transgressing Women focuses on the literary and cinematic representation of female characters in contemporary noir thrillers. The book argues that as the genre has grown, expanded and been subverted since its initial conception, along with the changing definition of gender, the representation of a female character has also inevitably gone through some dramatic changes. So, the book asks some important questions: What links the female characters in canonical noir to their contemporary counterparts? Is gender division still relevant in a text that transgresses gender boundaries? What happens when it is the human body itself that betrays the traditional definition or constitution of a human being? While many have written about the male protagonists and the femmes fatales in the noir genre, little attention has been given to the ‘other’ female characters who inhabit the noir world and are transgressors themselves. The main concern of the book is to trace the transgressive female characters in contemporary noir thrillers – both novels and films – by engaging itself with some of the most topical debates within both (post)feminist and postmodernist theories. The book is structured around two key concepts – space and the body. These temporal and spatial indicators are central in contemporary cultural theories such as postmodernism and post-feminism, along with other theorizations of gender and the noir genre. This means that the analysis is drawn from the classical noir examples and will then arrive at the neo-noir sub-genre, and then will move on to the most recent phenomenon in the genre, ‘future noir’.
Often considered the lowest depth to which cinema can plummet, the rape-revenge film is broadly dismissed as fundamentally exploitative and sensational, catering only to a demented, regressive demographic. This second edition, ten years after the first, continues the assessment of these films and the discourse they provoke. Included is a new chapter about women-directed rape-revenge films, a phenomenon that--revitalized since #MeToo exploded in late 2017--is a filmmaking tradition with a history that transcends a contemporary context. Featuring both famous and unknown movies, controversial and widely celebrated filmmakers, as well as rape-revenge cinema from around the world, this revised edition demonstrates that diverse and often contradictory treatments of sexual violence exist simultaneously.