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What is death and how does it touch upon life? Twenty writers look for answers. Birth is not inevitable. Life certainly isn't. The sole inevitability of existence, the only sure consequence of being alive, is death. In these eloquent and surprising essays, twenty writers face this fact, among them Geoff Dyer, who describes the ghost bikes memorializing those who die in biking accidents; Jonathan Safran Foer, proposing a new way of punctuating dialogue in the face of a family history of heart attacks and decimation by the Holocaust; Mark Doty, whose reflections on the art-porn movie Bijou lead to a meditation on the intersection of sex and death epitomized by the AIDS epidemic; and Joyce Carol Oates, who writes about the loss of her husband and faces her own mortality. Other contributors include Annie Dillard, Diane Ackerman, Peter Straub, and Brenda Hillman.
This volume collects work by several European, North American, and Australian academics who are interested in examining the performance and transmission of post-traumatic memory in the contemporary United States. The contributors depart from the interpretation of trauma as a unique exceptional event that shatters all systems of representation, as seen in the writing of early trauma theorists like Cathy Caruth, Shoshana Felman, and Dominick LaCapra. Rather, the chapters in this collection are in conversation with more recent readings of trauma such as Michael Rothberg’s “multidirectional memory” (2009), the role of mediation and remediation in the dynamics of cultural memory (Astrid Erll, 2012; Aleida Assman, 2011), and Stef Craps’ focus on “postcolonial witnessing” and its cross-cultural dimension (2013). The corpus of post-traumatic narratives under discussion includes fiction, diaries, memoirs, films, visual narratives, and oral testimonies. A complicated dialogue between various and sometimes conflicting narratives is thus generated and examined along four main lines in this volume: trauma in the context of “multidirectional memory”; the representation of trauma in autobiographical texts; the dynamic of public forms of national commemoration; and the problematic instantiation of 9/11 as a traumatic landmark.
Horror novelist Peter Straub creates highly personalized fiction with an allusiveness and ambiguity that deny the genre's explicit nature. For him, the Gothic style is to be created and recreated in a changing world--Faustian pacts, buried secrets, haunted places, ghosts, vampires and succubi take on strange new shapes and effects. Stephen King describes Straub's style as "a synthesis of horror and beauty." Drawing on interviews with Straub and featuring an exclusive interview with King, this study explores the work of the author who has been called "a writer of rare wit and intelligence in a field beset with cynical potboilers" (Douglas E. Winter, Washington Post, October 14, 1984).
“22 contributors explore a wide range of experiences” in this “illuminating, invaluable” anthology edited by the author of Female Chauvinist Pigs (Publishers Weekly). Writing an essay is like catching a wave, posits guest editor Ariel Levy. To catch a wave, you need skill and nerve, not just moving water. The writers featured in this volume are certainly full of nerve, and have crafted a wide range of pieces awash in a diversity of moods, voices, and stances. Leaving an abusive marriage, parting with a younger self, losing your sanity to Fitbit, and even saying goodbye to a beloved pair of pants are just some of the experience probed by essays that are unified in the daring of their creation. As Levy notes, Writing around an idea you think is worthwhile—an idea you suspect is an insight—requires real audacity.” The Best American Essays 2015 includes entries by Hilton Als, Roger Angell, Justin Cronin, Meghan Daum, Anthony Doerr, Margo Jefferson, David Sedaris, Zadie Smith, Rebecca Solnit and others.
In Sex, Drugs, and Creativity: The Search for Magic in a Disenchanted World, Kahoud and Knafo take a close look at omnipotent fantasies in three domains: sex, drugs, and creativity. They demonstrate how these fantasies emerge and how artists draw on them both to create and destroy—sometimes simultaneously – and how understanding this can help psychoanalysts work more effectively with these individuals. Using the personal statements of influential artists and entertainers, in addition to clinical material, the authors examine the omnipotence of self-destruction as it contends with that of creative artists. The authors argue that creative artists use omnipotent fantasies to imagine the world differently - this enables them to produce their art, but also leaves these artists vulnerable to addiction. Chapters devoted to Stephen King and Anne Sexton demonstrate the ways these authors used drugs and alcohol to fuel imagination and inspire creative output while simultaneously doing harm to themselves. A detailed case study also demonstrates successful clinical work with a creative substance user. Sex, Drugs, and Creativity will appeal to anyone interested in the links between creativity and substance use, and will be of great use to psychoanalysts and mental health practitioners working with these challenging clients.
In What My Mother Gave Me, women look at the relationships between mothers and daughters through a new lens: a daughter’s story of a gift from her mother that has touched her to the bone and served as a model, a metaphor, or a touchstone in her own life. The contributors of these thirty-one original pieces include Pulitzer Prize winners, perennial bestselling novelists, and celebrated broadcast journalists. Whether a gift was meant to keep a daughter warm, put a roof over her head, instruct her in the ways of womanhood, encourage her talents, or just remind her of a mother’s love, each story gets to the heart of a relationship. Rita Dove remembers the box of nail polish that inspired her to paint her nails in the wild stripes and polka dots she wears to this day. Lisa See writes about the gift of writing from her mother, Carolyn See. Cecilia Muñoz remembers both the wok her mother gave her and a lifetime of home-cooked family meals. Judith Hillman Paterson revisits the year of sobriety her mother bequeathed to her when Paterson was nine, the year before her mother died of alcoholism. Abigail Pogrebin writes about her middle-aged bat mitzvah, for which her mother provided flowers after a lifetime of guilt for skipping her daughter’s religious education. Margo Jefferson writes about her mother’s gold dress from the posh department store where they could finally shop as black women. Collectively, the pieces have a force that feels as elemental as the tides: outpourings of lightness and darkness; joy and grief; mother love and daughter love; mother love and daughter rage. In these stirring words we find that every gift, ?no matter how modest, tells the story of a powerful bond. As Elizabeth Benedict points out in her introduction, “whether we are mothers, daughters, aunts, sisters, or cherished friends, we may not know for quite some time which presents will matter the most."
O, The Oprah Magazine “Title to Pick Up Now” & Oprah.com Book of the Week San Francisco Chronicle Best Book of the Year Library Journal Best Stories Collection of the Year “Emotionally rich.” —New York Times “Ambitious, lush and even thrilling.” —Los Angeles Times “Ripping good yarns.” —Minneapolis Star Tribune “The stories in this strange and original collection bend genres—horror, mystery, Western—into wondrous new shapes.” —O, The Oprah Magazine In each of these eight lyrical and baroque tales, Melissa Pritchard transports readers into spine-tingling milieus that range from the astounding realm of Robert LeRoy Ripley’s “odditoriums” to the courtyard where Edgar Allan Poe once played as a child. Whether she is setting the famed figures of Buffalo Bill’s Wild West Show, including Annie Oakley and Sitting Bull, against the real, genocidal history of the American West, or contrasting the luxurious hotel where British writer Somerset Maugham stayed with the modern-day brothels of India, her stories illuminate the many ways history and architecture exert powerful forces upon human consciousness. Melissa Pritchard is a Flannery O’Connor, Janet Heidinger Kafka, and Carl Sandburg award-winning author whose previous short fiction collections were New York Times Notable Book and Editors’ Choice selections. She lives in Arizona.
In the spirit of his highly acclaimed and influential book Reality Hunger, David Shields has composed a mordantly funny, relentlessly self-questioning self-portrait based on questions that interviewers have asked him over forty years. David Shields decided to gather every interview he’s ever given, going back nearly forty years. If it was on the radio or TV or a podcast, he transcribed it. He wasn’t sure what he was looking for, but he knew he wasn’t interested in any of his own answers. The questions interested him—approximately 2,700, which he condensed and collated to form twenty-two chapters focused on such subjects as Process, Childhood, Failure, Capitalism, Suicide, and Comedy. Then, according to Shields, “the real work began: rewriting and editing and remixing the questions and finding a through-line.” The result is a lacerating self-demolition in which the author—in this case, a late-middle-aged white man—is strangely, thrillingly absent. As Chuck Klosterman says, “The Very Last Interview is David Shields doing what he has done dazzlingly for the past twenty-five years: interrogating his own intellectual experience by changing the meaning of what seems both obviously straightforward and obviously wrong.” Shields’s new book is a sequel of sorts to his seminal Reality Hunger: A Manifesto, which Literary Hub recently named one of the most important books of the last decade. According to Kenneth Goldsmith, “Just when you think Shields couldn’t rethink and reinvent literature any further, he does it again. The Very Last Interview confirms Shields as the most dangerously important American writer since Burroughs.”
“Reading How Literature Saved My Life is like getting to listen in on a really great, smart, provocative conversation. The book is not straightforward, it resists any single interpretation, and it seems to me to constitute nothing less than a new form.” ––Whitney Otto In this wonderfully intelligent, stunningly honest, painfully funny book, acclaimed writer David Shields uses himself as a representative for all readers and writers who seek to find salvation in literature. Blending confessional criticism and anthropological autobiography, Shields explores the power of literature (from Blaise Pascal’s Pensées to Maggie Nelson’s Bluets, Renata Adler’s Speedboat to Proust’s Remembrance of Things Past) to make life survivable, maybe even endurable. Shields evokes his deeply divided personality (his “ridiculous” ambivalence), his character flaws, his woes, his serious despairs. Books are his life raft, but when they come to feel un-lifelike and archaic, he revels in a new kind of art that is based heavily on quotation and consciousness. And he shares with us a final irony: he wants “literature to assuage human loneliness, but nothing can assuage human loneliness. Literature doesn’t lie about this––which is what makes it essential.” A captivating, thought-provoking, utterly original way of thinking about the essential acts of reading and writing.
Firecracker Award Finalist Poets & Writers “Best Books for Writers” selection Literary Hub “Best Books about Books” selection Image: Art, Faith, Mystery “Top Ten of the Year” selection In an essay entitled “Spirit and Vision” Melissa Pritchard poses the question: “Why write?” Her answer reverberates throughout A Solemn Pleasure, presenting an undeniable case for both the power of language and the nurturing constancy of the writing life. Whether describing the deeply interior imaginative life required to write fiction, searching for the lost legacy of American literature as embodied by Walt Whitman, being embedded with a young female GI in Afghanistan, traveling with Ethiopian tribes, or revealing the heartrending story of her informally adopted son William, a former Sudanese child slave, this is nonfiction vividly engaged with the world. In these fifteen essays, Pritchard shares her passion for writing and storytelling that educates, honors, and inspires. Melissa Pritchard is the author of, most recently, the novel Palmerino and the short story collection The Odditorium. Her books have received the Flannery O’Connor, Janet Heidinger Kafka, and Carl Sandburg awards and two of her short fiction collections were New York Times Notable Book and Editors’ Choice selections. Pritchard has worked as a journalist in Afghanistan, India, and Ethiopia, and her nonfiction has appeared in various publications, including O, The Oprah Magazine, Arrive, Chicago Tribune, and Wilson Quarterly. She lives in Phoenix, Arizona.