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A moment is the instant between a glance and a memory. Life is filled with ups and downs. It's like a roller coaster ride through the ectoplasm of time and space. Every now and then, a rider falls off into the uncertainty of the abyss. These unlucky souls are given a destiny of never-ending turmoil and illusion. This accelerating fall only slows enough for them to realize their fate, then speeds again. The following poems, stories and lyrics are their diaries.
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This book explores LGBQTNB people's relationships with animals, examining a complex menagerie of human-animal relationships.
"When things move, things change." Starting from this deceptively simple premise, Silvia Spitta opens a fascinating window onto the profound displacements and transformations that have occurred over the six centuries since material objects and human subjects began circulating between Europe and the Americas. This extended reflection on the dynamics of misplacement starts with the European practice of collecting objects from the Americas into Wunderkammern, literally "cabinets of wonders." Stripped of all identifying contexts, these exuberant collections, including the famous Real Gabinete de Historia Natural de Madrid, upset European certainties, forcing a reorganization of knowledge that gave rise to scientific inquiry and to the epistemological shift we call modernity. In contrast, cults such as that of the Virgin of Guadalupe arose out of the reverse migration from Europe to the Americas. The ultimate marker of mestizo identity in Mexico, the Virgin of Guadalupe is now fast crossing the U.S.-Mexico border, and miracles are increasingly being reported. Misplaced Objects then concludes with the more intimate and familial collections and recollections of Cuban and Mexican American artists and writers that are contributing to the Latinization of the United States. Beautifully illustrated and radically interdisciplinary, Misplaced Objects clearly demonstrates that it is not the awed viewer, but rather the misplaced object itself that unsettles our certainties, allowing new meanings to emerge.
An official guide to Buffy the Vampire Slayer describes the mythology and influences behind the monsters, ghouls, and characters through interviews with the creators and details of the episodes.
There is no crueler cage than the confines of the human mind in this riveting sequel to Menagerie from the New York Times–bestselling author. When their coup of Metzger’s Menagerie is discovered, Delilah Marlow and her fellow cryptids find their newly won freedom brutally stripped away as they are sold into The Savage Spectacle, a private collection of “exotic wildlife.” Specializing in ruthless cryptid cage matches, safari-style creature hunts and living party favors, the Spectacle’s owner, Willem Vandekamp, caters to the forbidden fetishes of the wealthy and powerful. At the Spectacle, any wish can be granted—for the right price. But Vandekamp’s closely guarded client list isn’t the only secret being kept at the Spectacle. Beneath the beauty and brutality of life in the collection lie much darker truths, and no one is more determined than Delilah to strip the masks from the human monsters and drag all dark things into the light. “Oh what a disturbingly dark, and haunting world Rachel Vincent has crafted! Spectacle is definitely not for the fainthearted. However, it is the characters who are the heart and soul of Spectacle. The world they live in is harsh and brutal but it is the strength, love, and loyalty we see emerging out of the darkness that makes Spectacle so significant. I can’t wait to see what unfolds in the third book of the Menagerie series!” —Fresh Fiction “A bravura example of fantasy series-building.” —Publishers Weekly
How "drowned town" literature, road movies, energy landscape photography, and "death train" narratives represent the brutality of industrial infrastructures. In this book, Michael Truscello looks at the industrial infrastructure not as an invisible system of connectivity and mobility that keeps capitalism humming in the background but as a manufactured miasma of despair, toxicity, and death. Truscello terms this "infrastructural brutalism"--a formulation that not only alludes to the historical nexus of infrastructure and the concrete aesthetic of Brutalist architecture but also describes the ecological, political, and psychological brutality of industrial infrastructures.