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Ghost, Android, Animal challenges the notion that trauma literature functions as a healing agent for victims of severe pain and loss by bringing trauma studies into the orbit of posthumanist thought. Investigating how literary representations of ghosts, androids, and animals engage traumatic experience, this book revisits canonical texts by William Faulkner and Toni Morrison and aligns them with experimental and popular texts by Shirley Jackson, Philip K. Dick, and Clive Barker. In establishing this textual field, the book reveals how depictions of non-human agents invite readers to cross subjective and cultural thresholds and interact with the "impossible" pain of others. Ultimately, this study asks us to consider new practices for reading trauma literature that enlarges our conceptions of the human and the real.
Ghost, Android, Animal challenges the notion that trauma literature functions as a healing agent for victims of severe pain and loss by bringing trauma studies into the orbit of posthumanist thought. Investigating how literary representations of ghosts, androids, and animals engage traumatic experience, this book revisits canonical texts by William Faulkner and Toni Morrison and aligns them with experimental and popular texts by Shirley Jackson, Philip K. Dick, and Clive Barker. In establishing this textual field, the book reveals how depictions of non-human agents invite readers to cross subjective and cultural thresholds and interact with the "impossible" pain of others. Ultimately, this study asks us to consider new practices for reading trauma literature that enlarges our conceptions of the human and the real.
Ghost, Android, Animal challenges the notion that trauma literature functions as a healing agent for victims of pain and loss by bringing trauma studies into the orbit of posthumanist thought, revealing how depictions of non-human agents invite readers to cross cultural thresholds and interact with the impossible pain of others.
Exploring what can be learnt when literary critics in the field of animal studies temporarily direct attention away from representations of nonhuman animals in literature and towards liminal figures like androids, aliens and ghosts, this book examines the boundaries of humanness. Simultaneously, it encourages the reader both to see nonhuman animals afresh and to reimagine the terms of our relationships with them. Examining imaginative texts by writers such as Octavia Butler, Philip K. Dick, Kazuo Ishiguro, Jeanette Winterson and J. M. Coetzee, this book looks at depictions of androids that redefine traditional humanist qualities such as hope and uniqueness. It examines alien visions that unmask the racist and heteronormative roots of speciesism. And it unpacks examples of ghosts and spirits who offer posthumous visions of having-been-human that decenter anthropocentrism. In doing so, it leaves open the potential for better relationships and futures with nonhuman animals.
There is a ghost in my house. I've only seen it out of the corner of my eye, but I think it is a cat, says a little boy in this comforting tale of love and loss. There's something oddly familiar about this ghost cat--it does lots of things that remind the boy of the cat he used to have. The boy's not sure why the ghost cat never stays for more than a few moments, or why the ghost cat has visited him in the first place. He follows the ghost cat all over his house, until finally it leads him to something new and wonderful. Bestselling author/illustrator Kevan Atteberry's artwork and story strike a perfect balance of evocative and haunting, as well as warm and hugely comforting to anyone struggling to cope with a loss. With a few carefully chosen words and simple, expressive illustrations, Ghost Cat captures both the poignancy of losing a pet and the importance of moving on without erasing or forgetting what came before. Winner of the Crystal Kite Award, Western Division A Bank Street Best Book of the Year Washington State Book Award Finalist
Whether a secularized morality, biblical worldview, or unstated set of mores, the Victorian period can and always will be distinguished from those before and after for its pervasive sense of the "proper way" of thinking, speaking, doing, and acting. Animals in literature taught Victorian children how to be behave. If you are a postmodern posthumanist, you might argue, "But the animals in literature did not write their own accounts." Animal characters may be the creations of writers’ imagination, but animals did and do exist in their own right, as did and do humans. The original essays in Animals and Their Children in Victorian explore the representation of animals in children’s literature by resisting an anthropomorphized perception of them. Instead of focusing on the domestication of animals, this book analyzes how animals in literature "civilize" children, teaching them how to get along with fellow creatures—both human and nonhuman.
Perfect for reading together, here's a series of stories and rhymes about the things children love -- fire engines, teddy bears, trucks, dinosaurs, dolls, kittens, rabbits, and more. Lovable characters, compelling stories, and beautiful illustrations make these books the ones children want to read over and over again.
Until now, much scholarly work on Burroughs has focused on the sensational aspects of his life and on his innovative writing. The Green Ghost, by Chad Weidner, uncovers the ecological context of literary texts by William Burroughs. By rereading canonical and ignored texts while pushing the boundaries of ecocritical theory and practice, Weidner provides a fresh perspective on Burroughs and suggests new theoretical and methodological approaches to understanding the work of other Beat writers. Using an ecocritical lens, Weidner explores the toxicity in Naked Lunch while at the same time teasing out latent ecological questions embedded in Burroughs’ later works. The author’s analysis of unknown and miniature “cut-ups,” texts that have been disassembled and rearranged to create new passages, provides a novel understanding of these cryptic forms. Weidner also examines in detail books by Burroughs that have been virtually ignored by critics, exposing the deep ecology of the Beat writer’s vision. In calling attention to Burroughs’s narrative strategies that link him to an environmental political position, The Green Ghost demonstrates that the work of the Beat writer is a ripe source for ecocritical dialogue.
Can a monkey own a selfie? Can a chimp use habeas corpus to sue for freedom? Can androids be citizens? Increasingly, such difficult questions have moved from the realm of science fiction into the realm of everyday life, and scholars and laypeople alike are struggling to find ways to grasp new notions of personhood. Posthuman Folklore is the first work of its kind: both an overview of posthumanism as it applies to folklore studies and an investigation of “vernacular posthumanisms”—the ways in which people are increasingly performing the posthuman. Posthumanism calls for a close investigation of what is meant by the term “human” and a rethinking of this, our most basic ontological category. What, exactly, is human? What, exactly, am I? There are two main threads of posthumanism: the first dealing with the increasingly slippery slope between “human” and “animal,” and the second dealing with artificial intelligences and the growing cyborg quality of human culture. This work deals with both these threads, seeking to understand the cultural roles of this shifting notion of “human” by centering its investigation into the performances of everyday life. From funerals for AIBOs, to furries, to ghost stories told by Alexa, people are increasingly engaging with the posthuman in myriad everyday practices, setting the stage for a wholesale rethinking of our humanity. In Posthuman Folklore, author Tok Thompson traces both the philosophies behind these shifts, and the ways in which people increasingly are enacting such ideas to better understand the posthuman experience of contemporary life.