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At times writers—from the unpublished to jaded lifers—need a fire lit under them to pursue the complex work of self-exploration. Acetylene Torch Songs provides that spark for memoirists and essayists seeking mentor-based instruction and inspiration. Drawing on twenty-five years of teaching and mentoring writers, Sue William Silverman stresses practice over theory. She encourages craftiness as well as craft and urges writers to embark on emotional quests in pursuit of their art. Acetylene Torch Songs uniquely illustrates how the writer’s imaginative spirit comes alive on the page through metaphor, literary masks, sensory memories, voice, obsessions, and more. This holistic approach to writing emphasizes how the creative process brings together the heart, mind, and senses to illuminate the human condition through language. Featuring a personal essay in each chapter, Silverman uses her own work to model a specific concept or approach, demonstrating how obsessions, secrets, and memories can burn on the page. Through guided prompts, worksheets, checklists, publishing advice, personal essays, and strategies, Silverman encourages writers to find the confidence and courage to write stories that reach beyond the page through their intimacy, social engagement, and honesty.
When recently widowed Kay Gates moves to Sydenham, Ontario to start a new chapter in her life, she is hoping for some peace after a difficult year. However, what she finds instead is anything but idyllic. Shortly after she realizes her home is haunted by a ghost with an agenda, the house across the road is destroyed by arson, and Kay stumbles upon a murder scene next door. Fortunately, she doesn’t have to go through all of this alone. Her best friend Jules moves in after splitting with her wife, and Jo, a local baker and volunteer firefighter, quickly becomes her roomie’s plus one. Her weeks fill up with visits from her disabled adult son, Ben, and the handsome Detective Jack Murphy suddenly seems to be around an awful lot. With Kay’s supernatural encounters increasing and her own personal safety threatened, she struggles to make sense of seemingly unconnected events. And while the torch songs of potential love keep getting louder, Kay begins to realize that she needs to examine the past to make sense of the present because if she doesn’t figure it all out fast, she might be the next one burned.
These fine poems are connected byÑand evokeÑthe music of lost homelands. Paegle, the daughter of immigrants from Argentina and Latvia, takes us through the tumult of displacement and migration with a strong sense for the folk songs and tango music of her youth. Against this musical backdrop, she invests the bandone—n, an accordion-like instrument brought to Argentina in the late nineteenth century, with a special significance. Her poetic account of the instrument yields this striking tribute, which testifies to the passion of the collection: Òwhen mission music spilled, / five octaves went new-world wild.Ó The poems in the first section, torch songs, hover near a heartbreaking lyricism as they reckon with political histories, landscapes, and loss. As she writes in this section, there is truly Ònothing in this life like being blind in Granada.Ó The sonnet crown that comprises the next section, tango liso, plots a history of cultural inheritance and renewal, weaving back and forth in time and spanning Argentina, Spain, and the United States. Here the reader encounters Eva Per—n alongside Katharine of Aragon and Billie Holiday. The final section, choir, commemorates sites of pilgrimage in Latvia, West Germany, and Spain, among other places. In this extended contemplation of cathedral spaces, Paegle interrogates the boundary between the sacred and the secular, silence and song. What emerges from this diverse collection is a sensual and allusive space where music and memory coincide.
"In this innovative book, Stacy Holman Jones presents torch singing as a much more complicated phenomenon than the familiar trope of a woman lamenting her victimhood. With an ethnographer's eye, she observes the bluesy torch singers, asking if they are possibly performing critiques of the very lyrics they are singing. From this perspective, we see the singer giving expression not only to desire but also to an incipient determination to resist and change. Holman Jones also reveals points of contact in the opposition between spectators and performers, emotion and intellect, and love and power. Instead of interpreting the expression of love as a woman's violent mistake - as willing deception and passive fate - Holman Jones allows us to hear an active search for hope."--BOOK JACKET.
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Jon Stratton provides a pioneering work on Jews as a racialized group in the popular music of America, Britain and Australia during the twentieth and early twenty-first centuries. Rather than taking a narrative, historical approach the book consists of a number of case studies, looking at the American, British and Australian music industries. Stratton's primary motivation is to uncover how the racialized positioning of Jews, which was sometimes similar but often different in each of the societies under consideration, affected the kinds of music with which Jews have become involved. Stratton explores race as a cultural construction and continues discussions undertaken in Jewish Studies concerning the racialization of the Jews and the stereotyping of Jews in order to present an in-depth and critical understanding of Jews, race and popular music.
Uncovers the unexplored history of the love song, from the fertility rites of ancient cultures to the sexualized YouTube videos of the present day, and discusses such topics as censorship, the legacy of love songs, and why it is a dominant form of modern musical expression.
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