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The Madwoman's Coat, Ian Reid's fifth historical novel, is set In England and Western Australia during the late 19th century. It is a story of love and grief, artistry and insanity, acts of sudden transgression and moments of quiet contemplation. 1897: Isabella Trent is found murdered in an Australian asylum cell. Why did she die? Who is the killer? What is the meaning of the ornate motifs that Isabella has secretly embroidered on a man's frock coat? Years earlier, young Lucy Malpass leaves her home town in Staffordshire for London, where she is drawn into a community of artists and socialists around William Morris and his family. Before long there is not only a prospect of fulfilling work but also a glimpse of reciprocal passion. Then her high hopes gradually begin to unravel. There seems to be a link between Lucy and Isabella, related somehow to an old Icelandic tale. But what exactly is this link, and what can it explain about their closely held secrets?
Always strong and fearless, Germaine Greer strikes right at the heart of the matter--be it John F. Kennedy and vaginal deodorants, rape and artificial insemination, cosmetic surgery, the death of Jimi Hendrix, or the famine in Ethiopia. This collection represents a mosaic of essays, long and short, some of which are appearing for the first time in print and all of which chafe the conventional and are bristling with argument. From the youthful liveliness of her sixties pieces, which "got up everybody's nose," to the depth and complexity of her later work, The Madwoman's Underclothes is a reflection both of an era and of the changing ideas and styles of Germaine Greer: "The essays on Brazil, Cuba, and Ethiopia represent my coming of age. Something like a coherent system of values is beginning to emerge after my years of wandering, although I have certainly not arrived at a set of articles of faith, and never will, I hope." Greer's opinions on social, political, and sexual trends and mores are tendered in her unique fashion--outspoken, with rapier wit and no tolerance for narrow-mindedness. But as explosive, angry, and often funny as these essays are, they also reveal tenderness and sadness and that emotion that underlies all of Greer's work--passionate commitment.
"A debut novel about the last remaining descendant of the Brontees who discovers that her recently deceased father has left her a treasure hunt that may lead to the long-rumored secret literary estate"--
Out giving his wife driving lessons, Marshal Guarnaccia of the Carabinieri witnesses a disturbance in the streets involving a local eccentric, “crazy Clementina.” When the woman is found dead in her apartment soon after the incident of an apparent suicide, the marshal is puzzled and immediately suspects foul play. But who would have a motive to kill her? As the marshal dives into the case and reconstructs Clementina’s tragic past, his investigation dredges up the events surrounding a disastrous flood some twenty years earlier and a controversial piece of legislation with profound effects on the lives of Italy’s mentally unstable residents.
THE STORY: The play is a kind of poetic and comic fable set in the twilight zone of the not-quite-true. At the Cafe Chez Francis, a group of promoters plot to tear up Paris in order to unearth the oil which a prospector believes he has located in t
"A feminist classic."—Judith Shulevitz, New York Times Book Review “A pivotal book, one of those after which we will never think the same again.”—Carolyn G. Heilbrun, Washington Post Book World A pathbreaking book of literary criticism is now reissued with a new introduction by Lisa Appignanesi that speaks to how The Madwoman in the Attic set the groundwork for subsequent generations of scholars writing about women writers, and why the book still feels fresh some four decades later.
A writer, performer, and contributing editor to "The Atlantic" humorously chronicles her experiences going through menopause while dealing with the end of her marriage, her preteen daughters, and the hijinks of her eighty-nine-year-old father.
A comic exploration of a year in the life of an “imaginatively twisted and fearless” (Los Angeles Times) best-selling author. Ah, 55. Gateway to the golden years! Professional summiting. Emotional maturity. Easy surfing toward the glassy blue waters of retirement. . . . Or maybe not? Middle age, for Sandra Tsing Loh, feels more like living a disorganized 25-year-old’s life in an 85-year-old’s malfunctioning body. With raucous wit and carefree candor, Loh recounts the struggles of leaning in, staying lean, and keeping her family well-fed and financially afloat?all those burdens of running a household that still, all-too-often, fall to women. The Madwoman and the Roomba chronicles a roller coaster year for Loh, her partner, and her two teenage daughters in their ramshackle quasi-Craftsman, with a front lawn that’s more like a rectangle of compacted dirt and mice that greet her as she makes her morning coffee. Her daughters are spending more time online than off; her partner has become a Hindu, bringing in a household of monks; and she and her girlfriends are wondering over Groupon “well” drinks how they got here. Whether prematurely freaking out about her daughters’ college applications, worrying over her eccentric aging father, or overcoming the pitfalls of long-term partnership and the temptations of paired-with-cheese online goddess webinars, Loh somehow navigates the realities of what it means to be a middle-aged woman in the twenty-first century. Including a new epilogue hilariously recounting her family’s quarantine experience during the pandemic, The Madwoman and the Roomba is a “wildly funny” testament to Loh’s “brilliant wit and rock-solid resilience” (Henry Alford).
In this work, the subversive madwoman first appropriated by feminist theorists and critics is re-evaluated. How, the author asks, can such a figure be subversive if she's effectively imprisoned, silent and unseen? Taking issue with a prominent strand of current feminist literary criticism, Caminero-Santangelo identifies a counternarrative in writing by women in the last half of the 20th century, one which rejects madness, even as a symbolic resolution.
It’s 1937, and the Japanese are poised to invade Nanjing. Minnie Vautrin, an American missionary and the dean of Jinling Women’s College, decides to remain at the school, convinced that her American citizenship will help her safeguard the welfare of the Chinese men and women who work there. She is painfully mistaken. In the aftermath of the invasion, the school becomes a refugee camp for more than ten thousand homeless women and children, and Vautrin must struggle, day after day, to intercede on the behalf of the hapless victims. Yet even when order and civility are restored, she remains deeply embattled, always haunted by the lives she could not save. At once a searing story that unfurls during one of the darkest moments of the twentieth century and an indelible portrait of a singular and brave woman, Nanjing Requiem is another tour de force from the National Book Award-winning author of Waiting.