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Numerous claims have been made for a sexual Blake, from post-lapsarian pessimist to free-loving hippie. Queer Blake raises a flag for the weird, perverse, camp and gay directions of the artist's life and work. The contributors occupy diverse positions, illustrating what fresh interpretations result when heterosexuality is ditched as an ideal.
Against the backdrop of Britain's underground 18th and early-19th century homosexual culture, mob persecutions, and executions of homosexuals, Hobson shows how Blake's hatred of sexual and religious hypocrisy and state repression, and his revolutionary social vision, led him gradually to accept homosexuality as an integral part of human sexuality. In the process, Blake rejected the antihomosexual bias of British radical tradition, revised his idealization of aggressive male heterosexuality and his male-centered view of gender, and refined his conception of the cooperative commonwealth.
An unforgettable novel of an American suburb devastated by a fiendish madman—the most ambitious and important work yet by “the 21st century answer to William Burroughs” (Publishers Weekly). Blake Butler’s fiction has dazzled readers with its dystopian dreamscapes and swaggering command of language. Now, in his most topical and visceral novel yet, he ushers us into the consciousness of two men in the shadow of a bloodbath: Gretch Gravey, a cryptic psychopath with a small army of burnout followers, and E. N. Flood, the troubled police detective tasked with unpacking and understanding his mind. A mingled simulacrum of Charles Manson, David Koresh, and Thomas Harris’s Buffalo Bill, Gravey is a sinister yet alluring God figure who enlists young metal head followers to kidnap neighboring women and bring them to his house—where he murders them and buries their bodies in a basement crypt. Through parallel narratives, Three Hundred Million lures readers into the cloven mind of Gravey—and Darrel, his sinister alter ego—even as Flood’s secret journal chronicles his own descent into his own, eerily similar psychosis. A portrait of American violence that conjures the shadows of Ariel Castro, David Koresh, and Adam Lanza, Three Hundred Million is a brutal and mesmerizing masterwork, a portrait of contemporary America that is difficult to turn away from, or to forget.
A clever and steamy queer romantic comedy about taking chances and accepting love—with all its complications—from the author of Astrid Parker Doesn't Fail. Delilah Green swore she would never go back to Bright Falls—nothing is there for her but memories of a lonely childhood where she was little more than a burden to her cold and distant stepfamily. Her life is in New York, with her photography career finally gaining steam and her bed never empty. Sure, it’s a different woman every night, but that’s just fine with her. When Delilah’s estranged stepsister, Astrid, pressures her into photographing her wedding with a guilt trip and a five-figure check, Delilah finds herself back in the godforsaken town that she used to call home. She plans to breeze in and out, but then she sees Claire Sutherland, one of Astrid’s stuck-up besties, and decides that maybe there’s some fun (and a little retribution) to be had in Bright Falls, after all. Having raised her eleven-year-old daughter mostly on her own while dealing with her unreliable ex and running a bookstore, Claire Sutherland depends upon a life without surprises. And Delilah Green is an unwelcome surprise…at first. Though they’ve known each other for years, they don’t really know each other—so Claire is unsettled when Delilah figures out exactly what buttons to push. When they’re forced together during a gauntlet of wedding preparations—including a plot to save Astrid from her horrible fiancé—Claire isn’t sure she has the strength to resist Delilah’s charms. Even worse, she’s starting to think she doesn’t want to...
Examines Blake's place within a bourgeois culture in the process of redefining the role and meaning of sexuality.
An interior designer who is never without the perfect plan learns to renovate her love life without one in this new romantic comedy by Ashley Herring Blake, author of Delilah Green Doesn’t Care. For Astrid Parker, failure is unacceptable. Ever since she broke up with her fiancé a year ago, she’s been focused on her career—her friends might say she’s obsessed, but she knows she’s just driven. When Pru Everwood asks her to be the designer for the Everwood Inn’s renovation, which will be featured on a popular HGTV show, Innside America, Astrid is thrilled. Not only will the project distract her from her failed engagement and help her struggling business, but her perpetually displeased mother might finally give her a nod of approval. However, Astrid never planned on Jordan Everwood, Pru’s granddaughter and the lead carpenter for the renovation, who despises every modern design decision Astrid makes. Jordan is determined to preserve the history of her family’s inn, particularly as the rest of her life is in shambles. When that determination turns into some light sabotage to ruffle Astrid’s perfect little feathers, the showrunners ask them to play up the tension. But somewhere along the way, their dislike for each other evolves into something quite different, and Astrid must decide what success truly means. Is she going to pursue the life that she’s expected to lead or the one that she wants?
Blake's combination of verse and design invites interdisciplinary study. The essays in this collection approach his work from a variety of perspectives including masculinity, performance, plant biology, empire, politics and sexuality.
Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.
In the wake of a destructive tornado, Ivy Aberdeen develops feelings for another girl in this stunning, tender novel about emerging identity, perfect for fans of The Thing About Jellyfish. When a tornado rips through town, twelve-year-old Ivy Aberdeen's house is destroyed and her family of five is displaced. Ivy feels invisible and ignored in the aftermath of the storm--and what's worse, her notebook filled with secret drawings of girls holding hands has gone missing. Mysteriously, Ivy's drawings begin to reappear in her locker with notes from someone telling her to open up about her identity. Ivy thinks--and hopes--that this someone might be her classmate, another girl for whom Ivy has begun to develop a crush. Will Ivy find the strength and courage to follow her true feelings? Ivy Aberdeen's Letter to the World is an exquisite addition to queer middle grade—and children's literature at large.
William Blake’s work demonstrates two tendencies that are central to social media: collaboration and participation. Not only does Blake cite and adapt the work of earlier authors and visual artists, but contemporary authors, musicians, and filmmakers feel compelled to use Blake in their own creative acts. This book identifies and examines Blake’s work as a social and participatory network, a phenomenon described as zoamorphosis, which encourages — even demands — that others take up Blake’s creative mission. The authors rexamine the history of the digital humanities in relation to the study and dissemination of Blake’s work: from alternatives to traditional forms of archiving embodied by Blake’s citation on Twitter and Blakean remixes on YouTube, smartmobs using Blake’s name as an inspiration to protest the 2004 Republican National Convention, and students crowdsourcing reading and instruction in digital classrooms to better understand and participate in Blake’s world. The book also includes a consideration of Blakean motifs that have created artistic networks in music, literature, and film in the twentieth and the twenty-first centuries, showing how Blake is an ideal exemplar for understanding creativity in the digital age.