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While many people see ‘home’ as the domestic sphere and place of belonging, it is hard to grasp its manifold implications, and even harder to provide a tidy definition of what it is. Over the past century, discussion of home and nation has been a highly complex matter, with broad political ramifications, including the realignment of nation-states and national boundaries. Against this backdrop, this book suggests that ‘home’ is constructed on the assumption that what it defines is constantly in flux and thus can never capture an objective perspective, an ultimate truth. Along these lines, Unreliable Truths offers a comparative literary approach to the construction of home and concomitant notions of uncertainty and unreliable narration in South Asian diasporic women’s literature from the UK, Australia, South Africa, the Caribbean, North America, and Canada. Writers discussed in detail include Feroza Jussawalla, Suneeta Peres da Costa, Meera Syal, Farida Karodia, Shani Mootoo, Shobha Dé, and Oonya Kempadoo. With its focus on transcultural homes, Unreliable Truths goes beyond discussions of diaspora from an established postcolonial point of view and contributes with its investigation of transcultural unreliable narration to the representation of a g/local South Asian diaspora.
Two couples cut to bits near a canyon close to the Nevada border. The police pull over blood-soaked Arlo Ward not far from the site of the grisly murders; he fully cooperates with the officers, grinning through a remorseless confession dripping with gory detail. Investigators find no murder weapon, but young, awkward Arlo's confession is signed, taped, and delivered.
How To Be a Good Wife by Emma Chapman is a haunting literary debut about a woman who begins having visions that make her question everything she knows Marta and Hector have been married for a long time. Through the good and bad; through raising a son and sending him off to life after university. So long, in fact, that Marta finds it difficult to remember her life before Hector. He has always taken care of her, and she has always done everything she can to be a good wife—as advised by a dog-eared manual given to her by Hector's aloof mother on their wedding day. But now, something is changing. Small things seem off. A flash of movement in the corner of her eye, elapsed moments that she can't recall. Visions of a blonde girl in the darkness that only Marta can see. Perhaps she is starting to remember—or perhaps her mind is playing tricks on her. As Marta's visions persist and her reality grows more disjointed, it's unclear if the danger lies in the world around her, or in Marta herself. The girl is growing more real every day, and she wants something.
Fiona O'Loughlin was raised in the generation of children who were to be seen, but not heard ... unless there were guests in the house. Then she'd watch everyone, telling stories, making each other laugh. This was where she discovered the rhythm of stories and the lubrication that alcohol leant the telling. Years later, as a mum of five, Fiona would become one of Australia's most-loved comedians, performing gigs in New York, Montreal, Singapore, London, Toronto and Edinburgh. Fiona looked like she was living her dream - but she was hiding a secret in open sight, using alcoholism as material for her comedy and using comedy as an excuse for her alcoholism. Truths from an Unreliable Witness is a fiercely honest and wryly funny memoir of melancholy, love, marriage, the loss of love and marriage, homelessness, of hotel rooms strewn with empty mini-bar bottles of vodka, of waking from a two-week coma, of putrid drug dens and using a jungle to confront yourself. It is about hitting rock bottom and then realising you are only halfway down. Ultimately, it's about hanging on to your last straw of sanity and finding laughter in the darkest of times. You may want to sit down for this...
Murdock explores the role of imagination in the process of writing memoirs, and suggests various ways to write a memoir, employing her own memories and other memoirs to demonstrate certain writing techniques, and providing step-by-step instructions for novice memoir writers.
An unnamed narrator's life at Yale takes a dizzying turn when she meets a girl who looks just like her. Drawn into each other's social worlds, they spiral deeper and deeper into a house of mirrors made of each other.
A guide for lesbian couples to improve their levels of intimacy, providing exercises and anecdotes, covering common issues women in same-sex couples have, and discussing the intricacies of female desire.
A fresh, daring, and genuine alternative to the traditional story of scientific progress Explaining the world around us, and the life within it, is one of the most uniquely human drives, and the most celebrated activity of science. Good explanations are what provide accurate causal accounts of the things we wonder at, but explanation's earthly origins haven't grounded it: we have used it to account for the grandest and most wondrous mysteries in the natural world. Explanations give us a sense of understanding, but an explanation that feels right doesn't mean it is true. For every true explanation, there is a false one that feels just as good. A good theory's explanations, though, have a much easier path to truth. This push for good explanations elevated science from medieval alchemy to electro-chemistry, or a pre-inertial physics to the forces underlying nanoparticles. And though the attempt to explain has existed as long as we have been able to wonder, a science timeline from pre-history to the present will reveal a steep curve of theoretical discovery that explodes around 1600, primarily in the West. Ranging over neuroscience, psychology, history, and policy, Wondrous Truths answers two fundamental questions-Why did science progress in the West? And why so quickly? J.D. Trout's answers are surprising. His central idea is that Western science rose above all others because it hit upon successive theories that were approximately true through an awkward assortment of accident and luck, geography and personal idiosyncrasy. Of course, intellectual ingenuity partially accounts for this persistent drive forward. But so too does the persistence of the objects of wonder. Wondrous Truths recovers the majesty of science, and provides a startling new look at the grand sweep of its biggest ideas.
“This collection captures, in writing, the same array of emotions that Christine brings to the stage and screen with her acting. Funny with heart. Tears with a hint of hope. A fantastic mosaic that, when cobbled together, offers a stirring range of humanity.” — Alan Zweibel, original SNL writer and Thurber Prize winning author of The Other Shulman “Christine Lahti’s autobiographical essays are a beautiful, painful, funny, fiercely honest walk through the streets of her life. Gorgeous landscape, dangerous potholes and all. The whole unedited she-bang. It’s Oz with the curtain pulled back. At once soul-baring, hilarious, moving and smart. I’m a fan.” — Kathy Najimy, actress and comedienne “Lahti launches into the literary world with the same dynamism that has enlivened her acting roles. With brazen honesty, she recounts the many surprising, heartbreaking, and identity-building events that have punctuated her life. True Stories of an Unreliable Eyewitness oozes modesty, humor, and complete levelheadedness.” — Kirkus Reviews “Christine Lahti has lived a full, ferocious life and her stories will break, beat and blister your heart.” — Amber Tamblyn, author, actress, and director “Engrossing, hilarious, tragic—this amazing book of essays by a wonderful actor whom we now know is also a great American storyteller, takes us from the Midwest to Hollywood to the moment of women’s rebellion we are currently in. Couldn’t put it down!” — Michael Moore, Academy Award winning filmmaker and bestselling author “An intimate, conversational collection. Lahti writes with ease and authenticity... her timely chronicle of aging wisely, gracefully, and with self-respect will resonate with many readers” — Publishers Weekly “Lahti’s style is irreverent, bawdy, and laugh-out-loud funny, but she doesn’t shirk from painful subjects, including family mental illness. Lahti is one of those rare celebrities who not only has a fascinating life but who can also tell a relatable story with humility and humor.” — Booklist
Though the phenomenon known as “unreliable narration” or “narrative unreliability” has received a lot of attention during the last two decades, narratological research has mainly focused on its manifestations in narrative fiction, particularly in homodiegetic or first-person narration. Except for film, forms and functions of unreliable narration in other genres, media and disciplines have so far been relatively neglected. The present volume redresses the balance by directing scholarly attention to disciplines and domains that narratology has so far largely ignored. It aims at initiating an interdisciplinary approach to, and debate on, narrative unreliability, exploring unreliable narration in a broad range of literary genres, other media and non-fictional text-types, contexts and disciplines beyond literary studies. Crossing the boundaries between genres, media, and disciplines, the volume acknowledges that the question of whether or not to believe or trust a narrator transcends the field of literature: The issues of (un)reliability and (un)trustworthiness play a crucial role in many areas of human life as well as a wide spectrum of academic fields ranging from law to history, and from psychology to the study of culture.