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Praise for Lincoln Michel: "Lincoln Michel is one of contemporary literary culture's greatest natural resources."—Justin Taylor, Vice Time passes unexpectedly or, perhaps, inexactly at the school. It's hard to remember what semester we are supposed to be in. Several of the clocks still operate, but they don't show the same time. The red bells, affixed in every room, erupt several times each day, yet the intervals between the disruptions wax and wane with an unknown algorithm. The windows are obscured by construction paper murals. Consequently, the sun rises and falls in complete ignorance of those of us attending the school. Many of us participated in the decorations in some lost point of childhood. A few of us still have dried glue under our fingernails. In the room I sit in now, the windows are covered with a glitter and glue reenactment of the colonization of Roanoke by Sir Walter Raleigh. Outside of the window, who knows? Children go to school long after all the teachers have disappeared, a man manages an apartment complex of attempted suicides, and a couple navigates their relationship in the midst of a zombie attack. In these short stories, we are the upright beasts, doing battle with our darker, weirder impulses as the world collapses around us. Lincoln Michel's work has appeared in BOMB, Oxford American, Tin House, the Believer, the Paris Review Daily, and elsewhere. A founding editor of the literary magazine Gigantic, Michel also serves as an online editor for Electric Literature.
Essays on the depiction of animals, birds and insects in early medieval material culture, from texts to carvings to the landscape itself. For people in the early Middle Ages, the earth, air, water and ether teemed with other beings. Some of these were sentient creatures that swam, flew, slithered or stalked through the same environments inhabited by their human contemporaries. Others were objects that a modern beholder would be unlikely to think of as living things, but could yet be considered to possess a vitality that rendered them potent. Still others were things half glimpsed on a dark night or seen only in the mind's eye; strange beasts that haunted dreams and visions or inhabited exotic lands beyond the compass of everyday knowledge. This book discusses the various ways in which the early English and Scandinavians thought about and represented these other inhabitants of their world, and considers the multi-faceted nature of the relationship between people and beasts. Drawing on the evidence of material culture, art, language, literature, place-names and landscapes, the studies presented here reveal a world where the boundaries between humans, animals, monsters and objects were blurred and often permeable, and where to represent the bestial could be to holda mirror to the self. Michael D.J. Bintley is Senior Lecturer in Medieval Literature at Canterbury Christ Church University; Thomas J.T. Williams is a doctoral researcher at UCL's Institute of Archaeology. Contributors: Noël Adams, John Baker, Michael D. J. Bintley, Sue Brunning, László Sándor Chardonnens, Della Hooke, Eric Lacey, Richard North, Marijane Osborn, Victoria Symons, Thomas J. Williams
Bestselling author Jeffrey Masson shows us what the animals at the top of the food chain-orca whales, big cats, etc.-can teach us about the origins of good and evil in ourselves. In his previous bestsellers, Masson has showed us that animals can teach us much about our own emotions-love (dogs), contentment (cats), and grief (elephants), among others. In Beasts, he demonstrates that the violence we perceive in the “wild” is a matter of projection. Animals predators kill to survive, but animal aggression is not even remotely equivalent to the violence of mankind. Humans are the most violent animals to our own kind in existence. We lack what all other animals have: a check on the aggression that would destroy the species rather than serve it. In Beasts, Masson brings to life the richness of the animal world and strips away our misconceptions of the creatures we fear, offering a powerful and compelling look at our uniquely human propensity toward aggression.
In this “timeless and original” sci-fi thriller (New York Times), a hardboiled baseball scout must solve the murder of his brother in a world transformed by body modification, perfect for readers of William Gibson and Max Barry. An Esquire Pick for the Top 50 Sci-Fi Books of All Time A New York Times Best Sci-Fi and Fantasy Novel of 2021 "A breathlessly paced techno-thriller characterized by stunning, spiky worldbuilding." — Esquire In the future you can have any body you want—as long as you can afford it. But in a New York ravaged by climate change and repeat pandemics, Kobo is barely scraping by. He scouts the latest in gene-edited talent for Big Pharma-owned baseball teams, but his own cybernetics are a decade out of date and twin sister loan sharks are banging down his door. Things couldn't get much worse. Then his brother—Monsanto Mets slugger J.J. Zunz—is murdered at home plate. Determined to find the killer, Kobo plunges into a world of genetically modified CEOs, philosophical Neanderthals, and back-alley body modification, only to quickly find he's in a game far bigger and more corrupt than he imagined. To keep himself together while the world is falling apart, he'll have to navigate a time where both body and soul are sold to the highest bidder. Diamond-sharp and savagely wry, The Body Scout is a timely science fiction thriller debut set in an all-too-possible future. "I devoured it." —Jonathan Lethem "Completely weird and still completely real. Delightful—I couldn't put it down."—Shea Serrano
The Kitāb Naʿt al-Ḥayawān is the earliest of a group of illustrated manuscripts dealing with the characteristics of animals and their medicinal uses. The present study considers both the confluence of textual traditions within this work and the stylistic and iconographic relationships of its illustrations, which make it a key witness to early thirteenth-century Arab painting. After a re-evaluation of previous approaches, emphasis is placed on relating image to text, on stylistic affiliations, and on the modalities of production, supported by technical analyses undertaken for the first time. In elucidating the particular context of this unique manuscript, the study contributes to our understanding of a critical period in the development of Middle Eastern painting and art.
Forty very short stories that reimagine the genre of crime writing from some of today’s most imaginative and thrilling writers “An intriguing take on crime/noir writing, this collection of 40 very short stories by leading and emerging literary voices—Amelia Gray, Brian Evenson, Elizabeth Hand, Carmen Maria Machado, Benjamin Percy, Laura van den Berg and more—investigates crimes both real and imagined. Despite their diminutive size, these tales promise to pack a punch.” —Chicago Tribune, 1 of 25 Hot Books for Summer Tiny Crimes gathers leading and emerging literary voices to tell tales of villainy and intrigue in only a few hundred words. From the most hard–boiled of noirs to the coziest of mysteries, with diminutive double crosses, miniature murders, and crimes both real and imagined, Tiny Crimes rounds up all the usual suspects, and some unusual suspects, too. With illustrations by Wesley Allsbrook and flash fiction by Carmen Maria Machado, Benjamin Percy, Amelia Gray, Adam Sternbergh, Yuri Herrera, Julia Elliott, Elizabeth Hand, Brian Evenson, Charles Yu, Laura van den Berg, and more, Tiny Crimes scours the underbelly of modern life to expose the criminal, the illegal, and the depraved.
Vols. 277-230, no. 2 include Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.
A collection of horror–inspired flash fiction, featuring over 40 new stories from literary, horror, and emerging writers—edited by Lincoln Michel and Nadxieli Nieto, the twisted minds behind Tiny Crimes: Very Short Tales of Mystery and Murder In this playful, inventive collection, leading literary and horror writers spin chilling tales in only a few pages. Each slim, fast–moving story brings to life the kind of monsters readers love to fear, from brokenhearted vampires to Uber–taking serial killers and mind–reading witches. But what also makes Tiny Nightmares so bloodcurdling—and unforgettable—are the real–world horrors that writers such as Samantha Hunt, Brian Evenson, Jac Jemc, Stephen Graham Jones, Lilliam Rivera, Kevin Brockmeier, and Rion Amilcar Scott weave into their fictions, exploring how global warming, racism, social media addiction, and homelessness are just as frightening as, say, a vampire’s fangs sinking into your neck. Our advice? Read with the hall light on and the bedroom door open just a crack. Featuring new stories from Samantha Hunt, Jac Jemc, Stephen Graham Jones, Rion Amilcar Scott, and more!
Animals, as Lévi-Strauss wrote, are good to think with. This collection addresses and reassesses the variety of ways in which animals were used and thought about in Renaissance culture, challenging contemporary as well as historic views of the boundaries and hierarchies humans presume the natural world to contain. Taking as its starting point the popularity of speaking animals in sixteenth-century literature and ending with the decline of the imperial Ménagerie during the French Revolution, Renaissance Beasts uses the lens of human-animal relationships to view issues as diverse as human status and power, diet, civilization and the political life, religion and anthropocentrism, spectacle and entertainment, language, science and skepticism, and domestic and courtly cultures. Within these pages scholars from a variety of disciplines discuss numerous kinds of texts--literary, dramatic, philosophical, religious, political--by writers including Calvin, Montaigne, Sidney, Shakespeare, Descartes, Boyle, and Locke. Through analysis of these and other writers, Renaissance Beasts uncovers new and arresting interpretations of Renaissance culture and the broader social assumptions glimpsed through views on matters such as pet ownership and meat consumption. Renaissance Beasts is certainly about animals, but of the many species discussed, it is ultimately humankind that comes under the greatest scrutiny.
"Praise for Lincoln Michel: "Lincoln Michel is one of contemporary literary culture's greatest natural resources."--Justin Taylor, Vice Time passes unexpectedly or, perhaps, inexactly at the school. It's hard to remember what semester we are supposed to be in. Several of the clocks still operate, but they don't show the same time. The red bells, affixed in every room, erupt several times each day, yet the intervals between the disruptions wax and wane with an unknown algorithm. The windows are obscured by construction paper murals. Consequently, the sun rises and falls in complete ignorance of those of us attending the school. Many of us participated in the decorations in some lost point of childhood. A few of us still have dried glue under our fingernails. In the room I sit in now, the windows are covered with a glitter and glue reenactment of the colonization of Roanoke by Sir Walter Raleigh. Outside of the window, who knows?Children go to school long after all the teachers have disappeared, a man manages an apartment complex of attempted suicides, and a couple navigates their relationship in the midst of a zombie attack. In these short stories, we are the upright beasts, doing battle with our darker, weirder impulses as the world collapses around us.Lincoln Michel's work has appeared in BOMB, Oxford American, Tin House, the Believer, The Paris Review Daily, and elsewhere. A founding editor of the literary magazine Gigantic, Michel also serves as an online editor for Electric Literature"--