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'A serious work of theory.' The Guardian ‘Jonathan Allan has come up with a whole theory of the arsehole.’ Dazed and Confused In a resolute deviation from the governing totality of the phallus, Reading from Behind offers a radical reorientation of the anus and its role in the collective imaginary. It exposes what is deeply hidden in our cultural production, and challenges the authority of paranoid, critical thought. A beautiful work that invites us beyond the rejection of phallocentricism, to a new way of being and thinking about sex, culture and identity.
"A Door Behind a Door is loose, dreamy, and symbol-packed... The resurfacing of characters from Olga’s past in her new city speaks to the theme of immigration in the novel, of new homes and the passage from old to new—a passage that is perhaps not ever fully complete in the sense that the past cannot be shaken." —Marta Balcewicz, Ploughshares In Yelena Moskovich's spellbinding new novel, A Door Behind A Door, we meet Olga, who immigrates as part of the Soviet diaspora of ’91 to Milwaukee, Wisconsin. There she grows up and meets a girl and falls in love, beginning to believe that she can settle down. But a phone call from a bad man from her past brings to life a haunted childhood in an apartment building in the Soviet Union: an unexplained murder in her block, a supernatural stray dog, and the mystery of her beloved brother Moshe, who lost an eye and later vanished. We get pulled into Olga’s past as she puzzles her way through an underground Midwestern Russian mafia, in pursuit of a string of mathematical stabbings.
How severe is the literacy gap in our schools? In The Reading Crisis, the renowned reading specialist Jeanne Chall and her colleagues examine the causes of this disparity and suggest some remedies.
In December 2008, twentysomething Jill Grunenwald graduated with her master's degree in library science, ready to start living her dream of becoming a librarian. But the economy had a different idea. As the Great Recession reared its ugly head, jobs were scarce. After some searching, however, Jill was lucky enough to snag one of the few librarian gigs left in her home state of Ohio. The catch? The job was behind bars as the prison librarian at a men's minimum-security prison. Talk about baptism by fire.
This book takes the concept of postmemory, developed in Holocaust studies, and applies it for the first time to novels by contemporary British writers. Focusing on war fiction, Alden builds upon current scholarship on historical fiction and memory studies, and extends the field by exploring how the use of historical research within fiction illuminates the ways in which we remember and recreate the past. Using postmemory to unlock both the transgenerational aspects of the novels discussed and the development of historiographic metafiction, Alden provides a ground-breaking analysis of the nature and potential of contemporary historical fiction. By examining the patterns and motivations behind authors’ translations of material from the historical record into fiction, Alden also asks to what extent such writing is, necessarily, metafictional. Ultimately, this study offers an updated answer to the question that historical fiction has always posed: what can fiction do with history that history cannot?
In December 2008, twentysomething Jill Grunenwald graduated with her master’s degree in library science, ready to start living her dream of becoming a librarian. But the economy had a different idea. As the Great Recession reared its ugly head, jobs were scarce. After some searching, however, Jill was lucky enough to snag one of the few librarian gigs left in her home state of Ohio. The catch? The job was behind bars as the prison librarian at a men’s minimum-security prison. Talk about baptism by fire. As an untested twentysomething woman, to say that the job was out of Jill’s comfort zone was an understatement. She was forced to adapt on the spot, speedily learning to take the metal detectors, hulking security guards, and colorful inmates in stride. Over the course of a little less than two years, Jill came to see past the bleak surroundings and the orange jumpsuits and recognize the humanity of the men stuck behind bars. They were just like every other library patron—persons who simply wanted to read, to be educated and entertained through the written word. By helping these inmates, Jill simultaneously began to recognize the humanity in everyone and to discover inner strength that she never knew she had. At turns poignant and hilarious, Reading behind Bars is a perfect read for fans of Orange is the New Black and Shakespeare Saved My Life.
This book holds 9 stories—not drawn from my own experiences, but from whispers I’ve heard, passed down through time like dark secrets. I can’t tell you where they came from or how they began, but they’ve haunted me, and now they will haunt you. I haven’t named each story because, by the end, I want you to give them a name—a name born from the fear that lingers after you’ve finished reading. But as you do, make sure to check behind you… because someone is always there, watching. I dedicate this book to those who have passed on—the ones you still feel close to, the ones whose presence never truly left. And you know what? Right now… They’re all sitting next to you.
"Scene: The Double O Ranch in the Whecatshe Valley in Oregon. Characters introduced in the first chapter: a boy and girl, Hal McNab and Helie, the latter an orphan brought up by Uncle Ril, owner of the OO and Aunt Izzy. Jim Battles, baron of Whecatshe Valley, visits Old Ril. It looks as if he had designs on the old ranch. Helie expresses intense dislike for him. Steve Buckaroo, Boss, conducts the education of Hall and Helie. He discovers that the child Helie has come to mean very much to him. Steve is worried lest Helie's hatred of Jim Battles exert a bad influence on her life. Steve introduces Helie to the Bible which had been his mother's and which Helie calls the "Mother Book." Six years have passed. The "OO" Ranch has increased in prosperity. Helie has developed in to a charming young woman. Hall is attending college. Hall asks Helie to marry him after his college course is finished. Helie visits Hall's home and that same night Hall's father, Dan McNab, is shot by Henry Minturn because Dan has accused his son of stealing horses. Jim Battles arrives at the OO Ranch and calls Old Ril to account for "fence cutting" promising trouble if it continues. Helie finds her horse, Polymena, dead on the desert."--Lewiston Evening Journal 1926.
In her entertaining and edifying New York Times bestseller, acclaimed author Francine Prose invites you to sit by her side and take a guided tour of the tools and tricks of the masters to discover why their work has endured. Written with passion, humour and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart – to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; to look to John le Carré for a lesson in how to advance plot through dialogue and to Flannery O’ Connor for the cunning use of the telling detail; to be inspired by Emily Brontë ’ s structural nuance and Charles Dickens’ s deceptively simple narrative techniques. Most importantly, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted, and reminds us that good writing comes out of good reading.