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The stories we tell of American beginnings typically emphasize colonial triumph in the face of adversity. But the early years of English settlement in America were characterized by catastrophe: starvation, disease, extreme violence, ruinous ignorance, and serial abandonment. Seasons of Misery offers a provocative reexamination of the British colonies' chaotic and profoundly unstable beginnings, placing crisis—both experiential and existential—at the center of the story. At the outposts of a fledgling empire and disconnected from the social order of their home society, English settlers were both physically and psychologically estranged from their European identities. They could not control, or often even survive, the world they had intended to possess. According to Kathleen Donegan, it was in this cauldron of uncertainty that colonial identity was formed. Studying the English settlements at Roanoke, Jamestown, Plymouth, and Barbados, Donegan argues that catastrophe marked the threshold between an old European identity and a new colonial identity, a state of instability in which only fragments of Englishness could survive amid the upheavals of the New World. This constant state of crisis also produced the first distinctively colonial literature as settlers attempted to process events that they could neither fully absorb nor understand. Bringing a critical eye to settlers' first-person accounts, Donegan applies a unique combination of narrative history and literary analysis to trace how settlers used a language of catastrophe to describe unprecedented circumstances, witness unrecognizable selves, and report unaccountable events. Seasons of Misery addresses both the stories that colonists told about themselves and the stories that we have constructed in hindsight about them. In doing so, it offers a new account of the meaning of settlement history and the creation of colonial identity.
Seasons of Misery offers a boldly original account of early English settlement in American by placing catastrophe and crisis at the center of the story. Donegan argues that the constant state of suffering and uncertainty decisively formed the colonial identity and produced the first distinctly colonial literature.
On a frozen January night, a young man hangs himself in a lonely corner of the Upper Peninsula, in a place they call Misery Bay. Alex McKnight does not know this young man, and he won't even hear about the suicide until two months later, when the last person Alex would ever expect comes to him for help. What seems like a simple quest to find a few answers will turn into a nightmare of sudden violence and bloody revenge, and a race against time to catch a ruthless and methodical killer. McKnight knows all about evil. Mobsters, drug dealers, hit men—he's seen them all, and they've taken away almost everything he's ever loved. But none of them could have ever prepared him for the darkness he's about to face. A New York Times bestseller, Michigan Notable Book, and Boston Globe Best Crime Book of the Year, Steve Hamilton's Misery Bay marks the return of one of crime fiction's most critically acclaimed series.
When the Sisters of Misery, a secret clique of the most popular, powerful girls in school, unleash their wrath on her beautiful cousin Cordelia, Maddie Crane must choose between Cordelia and the allure of this elite club.
From the Laws of Mount Misery: There are no laws in psychiatry. Now, from the author of the riotous, moving, bestselling classic, The House of God, comes a lacerating and brilliant novel of doctors and patients in a psychiatric hospital. Mount Misery is a prestigious facility set in the rolling green hills of New England, its country club atmosphere maintained by generous corporate contributions. Dr. Roy Basch (hero of The House of God) is lucky enough to train there *only to discover doctors caught up in the circus of competing psychiatric theories, and patients who are often there for one main reason: they've got good insurance. From the Laws of Mount Misery: Your colleagues will hurt you more than your patients. On rounds at Mount Misery, it's not always easy for Basch to tell the patients from the doctors: Errol Cabot, the drug cowboy whose practice provides him with guinea pigs for his imaginative prescription cocktails . . . Blair Heiler, the world expert on borderlines (a diagnosis that applies to just about everybody) . . . A. K. Lowell, née Aliyah K. Lowenschteiner, whose Freudian analytic technique is so razor sharp it prohibits her from actually speaking to patients . . . And Schlomo Dove, the loony, outlandish shrink accused of having sex with a beautiful, well-to-do female patient. From the Laws of Mount Misery: Psychiatrists specialize in their defects. For Basch the practice of psychiatry soon becomes a nightmare in which psychiatrists compete with one another to find the best ways to reduce human beings to blubbering drug-addled pods, or incite them to an extreme where excessive rage is the only rational response, or tie them up in Freudian knots. And all the while, the doctors seem less interested in their patients' mental health than in a host of other things *managed care insurance money, drug company research grants and kickbacks, and their own professional advancement. From the Laws of Mount Misery: In psychiatry, first comes treatment, then comes diagnosis. What The House of God did for doctoring the body, Mount Misery does for doctoring the mind. A practicing psychiatrist, Samuel Shem brings vivid authenticity and extraordinary storytelling gifts to this long-awaited sequel, to create a novel that is laugh-out-loud hilarious, terrifying, and provocative. Filled with biting irony and a wonderful sense of the absurd, Mount Misery tells you everything you'll never learn in therapy. And it's a hell of a lot funnier.
Once I started, I couldn't stop. It felt like falling down the stairs.... Meet David Gould: abandoned by his girlfriend, pushing the deadline for his first book, tormented by writer's block, and obsessed with the impossibly sexy, overwhelmingly alive diaries young people keep online. Outside it's a beautiful, Brooklyn summer. But inside his apartment David is sleeping in, screening calls, draining beer after beer, and dreaming of Miss Misery -- aka twenty-two-year-old provocateur Cath Kennedy -- a total stranger with impeccable music taste and an enviable nightlife. Now meet David Gould online. Here, in his fictional diary, he's a downtown DJ and an inveterate night owl, drinking and charming countless girls until the sun comes up. But when Miss Misery moves to New York City and begins canoodling with an insufferable hipster, David's diary mysteriously begins updating itself. The reason? David Gould has a doppelgänger, an obnoxious shadow set on claiming David's newly glamorous life as his own. Even worse for David, the phone calls from his editor are becoming increasingly desperate, and the voice mails from his girlfriend -- an ocean away -- are becoming more and more distant. And then there are all of the instant messages from seventeen-year-old Ashleigh Bortch, an emo kid in Salt Lake City with an inappropriate crush on David and a knack for showing up at precisely the wrong time. Forced out of his apartment, David Gould is facing the fight of his life. With humor, heart, and a vibrant, genre-jumping soundtrack, Andy Greenwald captures the essence of what it means to be young and struggling with identity in the new century. From cyberspace to nightclub bathrooms, from New York City to Utah, Miss Misery is a fast-paced, funny story about the timeless need to become the main character in your own life.
Includes the stories “The Body” and “Rita Hayworth and Shawshank Redemption”—set in the fictional town of Castle Rock, Maine A “hypnotic” (The New York Times Book Review) collection of four novellas—including the inspirations behind the films Stand By Me and The Shawshank Redemption—from Stephen King, bound together by the changing of seasons, each taking on the theme of a journey with strikingly different tones and characters. This gripping collection begins with “Rita Hayworth and the Shawshank Redemption,” in which an unjustly imprisoned convict seeks a strange and startling revenge—the basis for the Best Picture Academy Award-nominee The Shawshank Redemption. Next is “Apt Pupil,” the inspiration for the film of the same name about top high school student Todd Bowden and his obsession with the dark and deadly past of an older man in town. In “The Body,” four rambunctious young boys plunge through the façade of a small town and come face-to-face with life, death, and intimations of their own mortality. This novella became the movie Stand By Me. Finally, a disgraced woman is determined to triumph over death in “The Breathing Method.” “The wondrous readability of his work, as well as the instant sense of communication with his characters, are what make Stephen King the consummate storyteller that he is,” hailed the Houston Chronicle about Different Seasons.
Witty cautionary tales of outdoor life.
Already in its third printing, this popular novel tells the story of people from two different cultures--mountain and city--drawn together in a fight against the evil that stalks them all. Tuesday and Annabelle live in the same state but in two different worlds. Tuesday, educated and independent, lives in the city; Annabelle knows only the harsh life of the mountain cabin, where she lives with her husband and two other women he has taken as wives. Tuesday never knew that life could change so drastically in just a short time. When her car breaks down in sub-zero weather, she is faced with the choice between freezing or accepting help from a stranger. She chooses to trust the stranger named Jacob. Attracted to his good looks and quiet ways, Tuesday agrees when he asks to see her again. She tries to get to know Jacob and is both intrigued and put off by his secretiveness. Her friend, Cora, is uneasy about Jacob and asks Tuesday to be careful. Meanwhile, Cora continues an ongoing search for her daughter, who was kidnapped two years earlier. As this fascinating story unfolds, the lives of Tuesday and Annabelle become shockingly entwined, and the horrific activities of a baby-selling ring are exposed. Set in the beautiful but treacherous mountains of West Virginia, The Cabin stories reveal the best and worst of human nature.
Part philosophical meditation, part cultural critique, The Body in Pain is a profoundly original study that has already stirred excitement in a wide range of intellectual circles. The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.