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Redmond O'Hanlon is known as an amiable anti-hero - the debunker of classical exploration literature - and here on this joint road trip with journalist Rudi Rotthier, O'Hanlon visits places from his dark childhood. With a fine sense of the comic and beautifully rendered observations of the people they encounter, Rotthier excels in painting a portrait of this English author as he details the escapades of their journey. O'Hanlon provides a stream of jokey anecdotes which offset the bleakness of almost all his memories as do their conversations on God, Darwin and nature. Plagued by depression and scarred by his childhood and sadistic teachers, O'Hanlon drinks excessively, pops caffeine and nicotine pills. One of his most important possessions is a jar containing some of the charred remains of a close friend who committed suicide. In his house in Oxfordshire piles of books have spilled over tables and shelves and tottering mounds of dirty crockery obscure the sink. Yet, unlikely as it may seem, this is a remarkably light-hearted, sensitive and funny book.
A searing erotic thriller perfect for those tantalized by A. R. Torre’s Deanna Madden series . . . Anything you can imagine. Everything you crave. For the members of The Raven Room, it’s every fantasy fulfilled. But for some, that desire is a matter of life and death. Drawn by a need he cannot control, Julian ventures to The Raven Room, a secret and exclusive sex club in the underbelly of Chicago. It goes beyond sex. It goes beyond kink. The Raven Room is the only place where Julian finds release from the dangerous urges that threaten to destroy the successful life he’s worked so hard to build. Meredith’s body can’t get enough of Julian. He has opened her sexual horizons to tempting new possibilities. But out of bed she’s an aspiring journalist, and The Raven Room is the story she’s been looking for. By writing an exposé on the club and its elite clientele, she plans to launch her career. But when the police link The Raven Room to the death of a young woman, it threatens to expose a number of powerful people—people who would kill to stay anonymous. And Meredith must decide how much she can trust the man who has laid bare her erotic nature—and how much she will sacrifice in order to protect him . . . “The Raven Room will have everything you could possibly want and more.” —San Francisco Book Review “With a cliffhanger ending, The Raven Room will leave readers wondering what will happen next.” —RT Book Reviews
Come and enter the sexy, seductive, and secretive world of fetish. From agalmatophilia (the desire to have sex with a mannequin) to ophidicism (sexual arousal from snakes), this is the most comprehensive guide to outrageous erotic ple
A sure Winner, for those who are into sexual degradation and the darker moments of sadomasochistism art. Written by a conventional executive with an unconventional imagination.
The widely recognized “Dreamer narrative” celebrates the educational and economic achievements of undocumented youth to justify a path to citizenship. While a well-intentioned, strategic tactic to garner political support of undocumented youth, it has promoted the idea that access to citizenship and rights should be granted only to a select group of “deserving” immigrants. The contributors to We Are Not Dreamers—themselves currently or formerly undocumented—poignantly counter the Dreamer narrative by grappling with the nuances of undocumented life in this country. Theorizing those excluded from the Dreamer category—academically struggling students, transgender activists, and queer undocumented parents—the contributors call for an expansive articulation of immigrant rights and justice that recognizes the full humanity of undocumented immigrants while granting full and unconditional rights. Illuminating how various institutions reproduce and benefit from exclusionary narratives, this volume articulates the dangers of the Dreamer narrative and envisions a different way forward. Contributors. Leisy J. Abrego, Gabrielle Cabrera, Gabriela Garcia Cruz, Lucía León, Katy Joseline Maldonado Dominguez, Grecia Mondragón, Gabriela Monico, Genevieve Negrón-Gonzales, Maria Liliana Ramirez, Joel Sati, Audrey Silvestre, Carolina Valdivia
Fiction. Through its profile of Mercury de Sade, a computer programmer obsessed with the erotic potential of alien life, EXTRATERRESTRIAL SEX FETISH introduces a new perversion into the lexicon of sexual pathologies: exophilia, an abnormal attraction for aliens. "What Kubrick did to the science fiction film, EXTRATERRESTRIAL does to the science fiction novel...a kind of 2001: A Space Sodomy"--Dr. H. Floyd. "If the Marquis de Sade invented an astonishing new branch of mathematics, in which series and sets of bodies were subject to formal operations of pain and degradation, EXTRATERRESTRIAL is the first to apply this new math to cosmology.a kind of 120 Days of Saturn"--P. de Curval. Supervert 32C is a media company that utilizes the techniques of vanguard aesthetics to research the pathology of novel perversions.
Since the early-modern encounter between African and European merchants on the Guinea Coast, European social critics have invoked African gods as metaphors for misplaced value and agency, using the term “fetishism” chiefly to assert the irrationality of their fellow Europeans. Yet, as J. Lorand Matory demonstrates in The Fetish Revisited, Afro-Atlantic gods have a materially embodied social logic of their own, which is no less rational than the social theories of Marx and Freud. Drawing on thirty-six years of fieldwork in Africa, Europe, and the Americas, Matory casts an Afro-Atlantic eye on European theory to show how Marx’s and Freud’s conceptions of the fetish both illuminate and misrepresent Africa’s human-made gods. Through this analysis, the priests, practices, and spirited things of four major Afro-Atlantic religions simultaneously call attention to the culture-specific, materially conditioned, physically embodied, and indeed fetishistic nature of Marx’s and Freud’s theories themselves. Challenging long-held assumptions about the nature of gods and theories, Matory offers a novel perspective on the social roots of these tandem African and European understandings of collective action, while illuminating the relationship of European social theory to the racism suffered by Africans and assimilated Jews alike.
Nominated for a 34th annual Lambda Literary Award • A scintillating thriller with an emotional punch: “The tension builds to unbearably claustrophobic levels. To say more would rob readers of the 'no, he didn’t' suspense that makes Bath Haus an unexpectedly twisted, heart-pounding cat-versus-mouse thriller" (Los Angeles Times). Oliver Park, a recovering addict from Indiana, finally has everything he ever wanted: sobriety and a loving, wealthy partner in Nathan, a prominent DC trauma surgeon. Despite their difference in age and disparate backgrounds, they've made a perfect life together. With everything to lose, Oliver shouldn't be visiting Haus, a gay bathhouse. But through the entrance he goes, and it's a line crossed. Inside, he follows a man into a private room, and it's the final line. Whatever happens next, Nathan can never know. But then, everything goes wrong, terribly wrong, and Oliver barely escapes with his life. He races home in full-blown terror as the hand-shaped bruise grows dark on his neck. The truth will destroy Nathan and everything they have together, so Oliver does the thing he used to do so well: he lies. What follows is a classic runaway-train narrative, full of the exquisite escalations, edge-of-your-seat thrills, and oh-my-god twists. P. J. Vernon's Bath Haus is perfect for readers curious for their next must-read novel.
Object fetishism is becoming a more and more pervasive phenomenon. Focusing on literature and the visual arts, including cinema, this book suggests a parallelism between fetishism and artistic creativity, based on a poetics of detail, which has been brilliantly exemplified by Flaubert's style. After exploring canonical accounts of fetishism (Marx, Freud, Benjamin), by combining a historicist approach with theoretical speculation, Massimo Fusillo identifies a few interpretive patterns of object fetishism, such as seduction (from Apollonius of Rhodes to Max Ophüls), memory activation (from Goethe to Louise Bourgeois and Pamuk), and the topos of the animation of the inanimate. Whereas all these patterns are characterized by a projection of emotional values onto objects, modernism highlights a more latent component of object fetishism: the fascination with the alterity of matter, variously inflected by Proust, Woolf, Joyce, Barnes, and Mann. The last turning point in Fusillo's analysis is postmodernism and its obsession with mass media icons-from DeLillo's maximalist frescos and Zadie Smith's reflections on autographs to Palahniuk's porn objects; from pop art to commodity sculpture.
Pulitzer Prize Finalist | New York Times Bestseller | A Read with Jenna Today Show Book Club Pick | A New York Times Book Review Notable Book | TIME Magazine's 100 Must-Read Books of the Year Named one of the Best Books of the Year by NPR, The Washington Post; O: The Oprah Magazine, Real Simple, Good Housekeeping, Vogue, Refinery29, and Buzzfeed From Ann Patchett, the #1 New York Times bestselling author of Commonwealth, comes a powerful, richly moving story that explores the indelible bond between two siblings, the house of their childhood, and a past that will not let them go. The Dutch House is the story of a paradise lost, a tour de force that digs deeply into questions of inheritance, love and forgiveness, of how we want to see ourselves and of who we really are. At the end of the Second World War, Cyril Conroy combines luck and a single canny investment to begin an enormous real estate empire, propelling his family from poverty to enormous wealth. His first order of business is to buy the Dutch House, a lavish estate in the suburbs outside of Philadelphia. Meant as a surprise for his wife, the house sets in motion the undoing of everyone he loves. The story is told by Cyril’s son Danny, as he and his older sister, the brilliantly acerbic and self-assured Maeve, are exiled from the house where they grew up by their stepmother. The two wealthy siblings are thrown back into the poverty their parents had escaped from and find that all they have to count on is one another. It is this unshakeable bond between them that both saves their lives and thwarts their futures. Set over the course of five decades, The Dutch House is a dark fairy tale about two smart people who cannot overcome their past. Despite every outward sign of success, Danny and Maeve are only truly comfortable when they’re together. Throughout their lives they return to the well-worn story of what they’ve lost with humor and rage. But when at last they’re forced to confront the people who left them behind, the relationship between an indulged brother and his ever-protective sister is finally tested.