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"Thinking Allegory Otherwise is a unique collection of essays by allegory specialists and other scholars who engage allegory in exciting new ways." "Not limited to an examination of literary texts and works of art, the essays focus on a wide range of topics, including architecture, philosophy, theater, science, and law. Indeed, all language is allegorical. This collection proves the truth of this statement, but more importantly, it shows the consequences of it. To think allegory otherwise is to think otherwise-forcing us to rethink not only the idea of allegory itself, but also the law and its execution, the literality offigurative abstraction, and the figurations upon which even hard science depends." --Book Jacket.
Brenda Ueland was a journalist, editor, freelance writer, and teacher of writing. In If You Want to Write: A Book about Art, Independence and Spirit she shares her philosophies on writing and life in general. Ueland firmly believed that anyone can write, that everyone is talented, original, and has something important to say. In this book she explains how find that spark that will make you a great writer. Carl Sandburg called this book the best book ever written about how to write. Join the millions of others who've found inspiration and unlocked their own talent.
Now in paperback, this collection of bold and scathingly beautiful feminist poems imagines what comes after our current age of environmental destruction, racism, sexism, and divisive politics. Informed as much by Brenda Shaughnessy's worst fears as a mother as they are by her superb craft as a poet, the poems in The Octopus Museum blaze forth from her pen: in these pages, we see that what was once a generalized fear for our children is now hyper-reasonable, specific, and multiple: school shootings, nuclear attack, loss of health care, a polluted planet. As Shaughnessy conjures our potential future, she movingly (and often with humor) envisions an age where cephalopods might rule over humankind, a fate she suggests we may just deserve after destroying their oceans. These heartbreaking, terrified poems are the battle cry of a woman who is fighting for the survival of the world she loves, and a stirring exhibition of who we are as a civilization.
"Shaughnessy's particular genius . . . is utterly poetic, but essayistic in scope."—The New Yorker "Brenda Shaughnessy's work is a good place to start for any passionate woman feeling daunted by poetry." —Cosmopolitan "Shaughnessy's voice is smart, sexy, self-aware, hip . . . consistently wry, and ever savvy."—Harvard Review Subversions of idiom and cliché punctuate Shaughnessy's fourth collection as she approaches middle age and revisits the memories, romances, and music of adolescence. So Much Synth is a brave and ferocious collection composed of equal parts femininity, pain, pleasure, and synthesizer. While Shaughnessy tenderly winces at her youthful excesses, we humbly catch glimpses of our own. From "Never Ever": Late is a synonym for dead which is a euphemism for ever. Ever is a double-edged word, at once itself and its own opposite: always and always some other time. In the category of cleave, then. To cut and to cling to, somewhat mournfully… Brenda Shaughnessy was born in Okinawa, Japan and grew up in Southern California. She is the author of three books of poetry, including Human Dark with Sugar, winner of the James Laughlin Award and finalist for the National Book Critics Circle Award, and Our Andromeda, which was a New York Times Book Review "100 Notable Books of 2013." She is an assistant professor of English at Rutgers University, Newark, and lives in Brooklyn, New York.
Desperate is a fictional story revolving around the Wood family and overcoming all the abuses and eventually winning against evil. The antagonist is Tammy who had a quest to take over ZURA, the marketing company that she created with a friend. Tammy is seen as a maniac because of her behavior among her entourage. The protagonist is her stepdaughter, whose name is Amy, who took revenge on her. Amy grew up thinking she was an orphan, but when she found her mother’s identification card, she wondered if she was a true orphan. The identification card date did not match the timing of her mother's death. Through investigation, she found out that her mother was not dead, that she only disappeared from the sight of everyone. She desperately searched for her mother, the missing most important person in her life. Because of the mistreatment that Amy faced in her childhood, it was important for her to find her mother to tear Tammy down. After investigation with the help of a private detective and her friends, Amy was able to reunite with her mother. The comeback of Amy’s mother changed Amy’s and Tammy’s lives. Amy and her mother decided to expose Tammy to ruin her reputation. However, Tammy was not an easy target to pull down. She discovered the plan that Amy and her mother had against her. Then she counterattacked them with her serial killer death signature. Tammy's main goals were to fully control ZURA, to manipulate her entourage with ease by running the venture as she wanted.
“The problem was, because Purity is an idol (a validated and worshiped idol), I didn’t know who or what I’d be without my totem. My Christianity depended on Purity.” Going to a conservative Christian church when she was young, Brenda Marie Davies heard a consistent message—save yourself for marriage—that instilled in her fear and shame about sex. But after moving to Los Angeles at nineteen and finding herself suddenly exposed to a world far outside her comfort zone, she was forced to wrestle with the power and perversity of Christian purity culture. On Her Knees chronicles Brenda’s spiritual journey over the course of a decade in LA, through marriage, divorce, unlikely friendship, and sexual exploration. Through it all, she began tearing down the false idol of purity while refusing to abandon her faith. Told with raw honesty, sans obligatory shame, this is a story for anyone who wonders if it’s possible to love God without fearing sex, in all its shades of grey.
Told in an inimitable voice, Leaving Breezy Street is the stunning account of Brenda Myers-Powell’s brutal and beautiful life. “Careful—don’t think prostitution is just about money. It’s never just the money. It’s about slipping in at all the wrong places. Getting into dangerous situations and getting out of them. That’s exciting. That’s what you want. But you want something else, too.” What did Brenda Myers-Powell want? When she turned to prostitution at the age of fifteen, she wanted to support her two baby daughters and have a little money for herself. She was pretty and funny as hell, and although she called herself “Breezy,” she was also tough—a survivor in every sense of the word. Over the next twenty-five years, she would move across the country, finding new pimps, parties, drugs, and endless, profound heartache. And she would begin to want something else, something huge: a life of dignity, self-acceptance, and love. Astonishingly, she managed to find the strength to break from an unsparing world and save not only herself but also future Breezys. We have no say into which worlds we are born. But sometimes we can find a way out.
Most of the main characters in the story are in the early twenties. While some of the plot deals with their romantic problems, the main thing is their attempt to solve the mystery of the murder of Nancy Bonwit, a former girlfriend of Mark Forbes. They come to believe the poems Mark Forbes wrote about Jean Bauer while they were separated have hidden meanings. They believe they can be read as parts of a puzzle, a solution of which will help lead the police to Nancys killer. Mark Forbes is the earnest but flawed main male character in the story. Jean Bauer is the main female character. She and Mark went steady during her Junior and Senior years in high school. Marks clueless indifference to important things like Jeans birthday and Christmas finally result in a dramatic break up on Jeans Prom Night. Jean decides to attend college in New Jersey to get away from Marks and his indifferent ways. After her sophomore year she comes back home to her parents house in Maryland feeling that she has severed her ties with Mark. She transfers to another college near her home where she is befriended by Brenda Cranston who, like Jean, is in her junior years. It proves to be a faithful meeting. It is Brenda who first notices the dual meaning of Marks poems about Jeans and the mystical chemistry that seems to flow between them. And it is Brendas experiments with Jean acting as the guinea pig that prompts Jean to explore caverns , visit Marks first girlfriend, and come dangerously close to a hooded young men who maybe Nancys killer.