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Within the Circle is the first anthology to present the entire spectrum of twentieth-century African American literary and cultural criticism. It begins with the Harlem Renaissance, continues through civil rights, the Black Arts Movement, and on into contemporary debates of poststructuralist and black feminist theory. Drawing on a quote from Frederick Douglass for the title of this book, Angelyn Mitchell explains in her introduction the importance for those "within the circle" of African American literature to examine their own works and to engage this critical canon. The essays in this collection--many of which are not widely available today--either initiated or gave critical definition to specific periods or movements of African American literature. They address issues such as integration, separatism, political action, black nationalism, Afrocentricity, black feminism, as well as the role of art, the artist, the critic, and the audience. With selections from Langston Hughes, Sterling Brown, W. E. B. DuBois, Zora Neale Hurston, Richard Wright, James Baldwin, Toni Morrison, Barbara Smith, Alice Walker, Henry Louis Gates, Jr., and many others, this definitive collection provides a dynamic model of the cultural, ideological, historical, and aesthetic considerations in African American literature and literary criticism. A major contribution to the study of African American literature, this volume will serve as a foundation for future work by students and scholars. Its importance will be recognized by all those interested in modern literary theory as well as general readers concerned with the African American experience. Selections by (partial list): Houston A. Baker, Jr., James Baldwin, Sterling Brown, Barbara Christian, W. E. B. DuBois, Ralph Ellison, LeRoi Jones, Sarah Webster Fabio, Henry Louis Gates, Jr., W. Lawrence Hogue, Langston Hughes, Zora Neale Hurston, Alain Locke, Deborah E. McDowell, Toni Morrison, J. Saunders Redding, George Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Robert B. Stepto, Alice Walker, Margaret Walker, Mary Helen Washington, Richard Wright
The story of the raped and murdered woman of Judges 19 and the civil war and mass marriage that ensue in chapters 20–21 are hardly favorite tales of the Hebrew Bible. The chapters have often been dismissed as little more than an anachronistic epilogue, an awkward amalgamation of earlier stories or a “text of terror,” proof of patriarchal oppression. This book argues that, far from being a clumsy collage, Judges 19–21 is a carefully narrated tale that chronicles the descent of a nation into extreme individualism and fragmentation. In dialogue with continental philosopher Luce Irigaray, it will uncover the dynamics of identity formation and how differential constructions of identity of the One and the Other yield patterns of victimization and justification of violence. This literary-philosophical reading will bring out silences and missed possibilities for the subjectivity of women, whilst also shedding light on the victimization of men within the logic of totalitarian identity constructions. The end of Judges therefore offers a theological conclusion to the book as a whole and opens up avenues for thought on theological anthropology, understandings of identity and gender, and a theological commentary on violence.
Shortlisted for the Green Carnation Prize 2014 Laurie Penny, one of our most prominent young voices of feminism and dissent, presents a trenchant report on our society today--and our society tomorrow, as she is willing to fight to see it. Smart, clear-eyed, and irreverent, Unspeakable Things is a fresh look at gender and power in the twenty-first century, which asks difficult questions about dissent and desire, money and masculinity, sexual violence, menial work, mental health, queer politics, and the Internet. Celebrated journalist and activist Laurie Penny draws on a broad history of feminist thought and her own experience in radical subcultures in America and Britain to take on cultural phenomena from the Occupy movement to online dating, give her unique spin on economic justice and freedom of speech, and provide candid personal insight to rally the defensive against eating disorders, sexual assault, and internet trolls. Unspeakable Things is a book that is eye-opening not only in the critique it provides, but also in the revolutionary alternatives it imagines.
Nobel laureate Toni Morrison is one of the most widely studied of contemporary American authors. Her novels, particularly Beloved, have had a dramatic impact on the American canon and attracted considerable critical commentary. This 2007 Companion introduces and examines her oeuvre as a whole, the first evaluation to include not only her famous novels, but also her other literary works (short story, drama, musical, and opera), her social and literary criticism, and her career as an editor and teacher. Innovative contributions from internationally recognized critics and academics discuss Morrison's themes, narrative techniques, language and political philosophy, and explain the importance of her work to American studies and world literature. This comprehensive and accessible approach, together with a chronology and guide to further reading, makes this an essential book for students and scholars of African American literature.
One of the youngest recipients of a MacArthur “genius” grant, Kara Walker, an African American artist, is best known for her iconic, often life-size, black-and-white silhouetted figures, arranged in unsettling scenes on gallery walls. These visually arresting narratives draw viewers into a dialogue about the dynamics of race, sexuality, and violence in both the antebellum South and contemporary culture. Walker’s work has been featured in exhibits around the world and in American museums including the Museum of Modern Art, the Guggenheim, and the Whitney. At the same time, her ideologically provocative images have drawn vociferous criticism from several senior African American artists, and a number of her pieces have been pulled from exhibits amid protests against their disturbing representations. Seeing the Unspeakable provides a sustained consideration of the controversial art of Kara Walker. Examining Walker’s striking silhouettes, evocative gouache drawings, and dynamic prints, Gwendolyn DuBois Shaw analyzes the inspiration for and reception of four of Walker’s pieces: The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven, John Brown, A Means to an End, and Cut. She offers an overview of Walker’s life and career, and contextualizes her art within the history of African American visual culture and in relation to the work of contemporary artists including Faith Ringgold, Carrie Mae Weems, and Michael Ray Charles. Shaw describes how Walker deliberately challenges viewers’ sensibilities with radically de-sentimentalized images of slavery and racial stereotypes. This book reveals a powerful artist who is questioning, rather than accepting, the ideas and strategies of social responsibility that her parents’ generation fought to establish during the civil rights era. By exploiting the racist icons of the past, Walker forces viewers to see the unspeakable aspects of America’s racist past and conflicted present.
Eight-year-old Maria bears witness to her family's peculiar comings and goings in early 1940s New York City and at bedtime listens to the haunting, exhilarating stories of husbands lost to the front and of a strange pact made in desperation between an exotic Hungarian countess known as the Rat and the mystic faith healer Grigori Rasputin. From award-winning poet Kathleen Spivack comes a spellbinding and surreal debut novel about a tangled web of European emigres—including the Rat’s second cousin Herbert, a former Austrian civil servant now powerful in New York’s social scene, the Tolstoi String Quartet, who escaped to New York with their money sewn into the silk linings of their instrument cases, a German pediatrician dabbling in genetic engineering—and the strange and intoxicating secrets that bind them to each other.
Winner of the Pulitzer Prize, Toni Morrison’s Beloved is a spellbinding and dazzlingly innovative portrait of a woman haunted by the past. Sethe was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has borne the unthinkable and not gone mad, yet she is still held captive by memories of Sweet Home, the beautiful farm where so many hideous things happened. Meanwhile Sethe’s house has long been troubled by the angry, destructive ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved. Sethe works at beating back the past, but it makes itself heard and felt incessantly in her memory and in the lives of those around her. When a mysterious teenage girl arrives, calling herself Beloved, Sethe’s terrible secret explodes into the present. Combining the visionary power of legend with the unassailable truth of history, Morrison’s unforgettable novel is one of the great and enduring works of American literature.
Our foremost literary critic celebrates the American pantheon of great writers from Emerson and Whitman to Hurston and Ellison, to Ursula K. LeGuin, Philip Roth, and Thomas Pynchon. Harold Bloom is our greatest living student of literature, "a colossus among critics" (The New York Times) and a "master entertainer" (Newsweek). Over the course of a remarkable career spanning more than half a century, in such best-selling books as The Western Canon and Shakespeare: The Invention of the Human, he transformed the way we look at the masterworks of western literature. Now, in the first collection devoted to his illuminating writings specifically on American literature, Bloom reflects on the surprising ways American writers have influenced each other across more than two centuries. The American Canon gathers five decades of Bloom's essays, occasional pieces, and introductions as well as excerpts from several of his books, weaving them together into an unrivalled tour of the great American bookshelf. Always a champion of aesthetic power, Bloom tells the story of our national literature in terms of artistic struggle against powerful predecessors and the American thirst for selfhood. All of the visionary American writers who have long preoccupied Bloom--Emerson and Whitman, Hawthorne and Melville, and Dickinson, Faulkner, Crane, Frost, Stevens, and Bishop--are here, along with Hemingway, James, O'Connor, Ellison, Hurston, LeGuin, Ashbery and many others. Bloom's enthusiasm for these American geniuses is contagious, and he reminds us how these writers have shaped our sense of who we are, and how they can summon us to be yet better versions of ourselves.
The War That Saved My Life meets Coraline in this “deliciously creepy” (Publishers Weekly, starred review) middle grade historical novel following an anxious young girl learning to face her fears—and her ghosts—against the backdrop of the typhoid epidemic. Essie O’Neill is afraid of everything. She’s afraid of cats and electric lights. She’s afraid of the silver sick bell, a family heirloom that brings up frightening memories. Most of all, she’s afraid of the red door in her nightmares. But soon Essie discovers so much more to fear. Her mother has remarried, and they must move from their dilapidated tenement in the Bronx to North Brother Island, a dreary place in the East River. That’s where Essie’s new stepfather runs a quarantine hospital for the incurable sick, including the infamous Typhoid Mary. Essie knows the island is plagued with tragedy. Years ago, she watched in horror as the ship General Slocum caught fire and sank near its shores, plummeting one thousand women and children to their deaths. Now, something on the island is haunting Essie. And the red door from her dreams has become a reality, just down the hall from her bedroom in her terrifying new house. Convinced her stepfather is up to no good, Essie investigates. Yet to uncover the truth, she will have to face her own painful history—and what lies behind the red door.
Emma Marshall is haunted by the trauma of her past. The night she ended her engagement to cheating fiancé, Beaux, was meant to be the night she took back control, but it was only the beginning of his true hold over her. Nine months after suffering an intimate assault by the man who pledged his life to her, Emma is doing - okay. At least, that's what everyone thinks. No one knows the unspeakable truth of what happened between her and Beaux. It's a secret Emma plans to carry to the grave, until Julian Cole moves in next door and opens Emma's mind and heart to the possibility of love after betrayal. As the reporter and music executive grow closer in the music-filled city of New Orleans, Emma must risk everything to protect her newfound happiness from the man threatening to destroy her. As Emma embarks on a dangerous journey to bring her ex to justice, she soon learns the sins and secrets surrounding her are far more wicked than she ever could've imagined. Will Emma overcome her trauma and have her second chance at love? Or will the unspeakable destroy her and everyone she holds dear?