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This book is not comforting; it does not reassure. It does not teach anything a decent person needs to know. It is a book about BDSM, but it will teach you nothing about tying knots, swinging floggers or spanking. It does not attempt to reach the vanilla public. This book addresses control, it addresses change. The recreational uses of humiliation, conditioning, psychological torture, hypnotism and interrogation techniques are explored and laid bare, broken into usable steps and understandable, applicable concepts. It is a workshop of ruin, the tools necessary to cement lasting alteration and unforgettable experiences for those few who truly crave them. Note: The is the "revisited" addition that includes additional transcriptions from classes and lectures as well as memorial content that sheds additional light on the author and his work.
Originally published in 1991, the style of Nicole Ward Jouve's startingly original appraisals of women's writing suggests a new direction for feminist criticism, pointing up the shortcomings of much prevailing feminist analysis, and presenting viable alternatives.
According to legend, somewhere beneath the 50 thousand acres of man-made Lake Murray, lie the graves of the only accused witches ever executed in South Carolina. Kate Martin has become obsessed with this legend of her beloved home, or so her friends and family believe. In a tale of testing faith—perverted, faltering, profane, and pious – Kate struggles to discover the truth behind a blighted belief in the supernatural while she deals with her own doubts and demons of a very mortal sort. As she peels away the layers of fantasy surrounding the myth of madness and mayhem, she is drawn dangerously deep into heresy and evil, until twenty-first century and eighteenth century begin to blur and the hiss of a sinister legend becomes the din of monsters.
It's 1960, in America, at a prestigious boys' public school, a place of privilege that places great emphasis on its democratic ideals. A teenage boy in his final year, on a scholarship, has learned to fit in with his adoptive tribe while concealing as much as possible about himself and his background. Class is ever present, but the only acknowledged snobbery is a literary snobbery. These boys' heroes are writers - Fitzgerald, Cummings, Kerouac. They want to be writers themselves, and the school has a tradition whereby once a term big names from the literary world are invited to visit. A contest takes place with the boys admitting a piece of writing and the winner having a private audience with the visitor. When it is announced that Hemingway will be the next to come to the school, competition among the boys is intense, and the morals the school and the boys hold dear - honour, loyalty and friendship - are tested. No one writes more astutely than Wolff about the process by which character is formed, and here he illuminates the irresistible strength, even the violence, of the self-creative urge. This is a novel that, in its power and its beauty, in its precision and its humanity, is at once contemporary and timeless.
Originally published in 1991. The style of this startlingly original appraisal of a broad range of women’s writing suggests a new direction for feminist criticism, combining as it does challenging, intellectual debate and fresh textual analysis with fictional example and autobiographical detail to make a wholly new invention in the field. In addressing the need for the critic to say ‘I’ and to own judgments and statements instead of attributing these to an apparently impersonal third person, the author here points up some of the shortcomings of much prevailing ‘feminist’ analysis, challenging the very foundations of the Anglo-American feminist idea. Purposely avoiding the ‘totalising’ effect of much academic criticism, the writer/critic finds a new format and a new methodology for her insights and observations on a range of writers, from Doris Lessing to Hélène Cixious. Her unique analysis of the links between criticism and autobiography enable her to highlight the absurdity of attempting to write in the light of recent critical and scientific knowledge as if the self were a stable, unified construct, introducing instead a new, creative understanding of the methods and modes of women’s writing. This sparkling collection presents an exciting and original new voice in literary criticism. It tackles issues fundamental to literary theory, feminist criticism, psychoanalysis and cultural studies, offering new critical insights and providing a significant and wholly original feminist contribution to these key fields.
With an introduction by Meg Rosoff William Golding's final novel, left in draft at his death, tells the story of a priestess of Apollo. Arieka is one of the last to prophesy at Delphi, in the shadowy years when the Romans were securing their grip on the tribes and cities of Greece. The plain, unloved daughter of a local grandee, she is rescued from the contempt and neglect of her family by her Delphic role. Her ambiguous attitude to the god and her belief in him seem to move in parallel with the decline of the god himself - but things are more complicated than they appear. 'A remarkable work ... A compelling storyteller as well as a clear-eyed philosopher of the dangerous puzzles of being human.' The Times 'A wonderful central character. The story stretches out as clean and dry and clear as the beach in Lord of the Flies.' Independent 'Feline, deadpan and at moments hilarious.' Observer
These sixteen illustrated essays present an important revision of surrealism by focusing on the works of women surrealists and their strategies to assert positions as creative subjects within a movement that regarded woman primarily as an object of masculine desire or fear.While the male surrealists attacked aspects of the bourgeois order, they reinforced the traditional patriarchal image of woman. Their emphasis on dreams, automatic writing, and the unconscious reveal some of the least inhibited masculine fantasies. The first resistance to the male surrealists' projection of the female figure arose in the writings and paintings of marginalized woman artists and writers associated with Surrealism. The essays in this collection explore the complexity of these women's works, which simultaneously employ and subvert the dominant discourse of male surrealists. Essays What Do Little Girls Dream Of: The Insurgent Writing of Gis�le Prassinos • Finding What You Are Not Looking For • From D�jeuner en fourrure to Caroline: Meret Oppenheim's Chronicle of Surrealism • Speaking with Forked Tongues: "Male" Discourse in "Female" Surrealism? • Androgyny: Interview with Meret Oppenheim • The Body Subversive: Corporeal Imagery in Carrington, Prassinos, and Mansour • Identity Crises: Joyce Mansour's Narratives • Joyce Mansour and Egyptian Mythology • In the Interim: The Constructivist Surrealism of Kay Sage • The Flight from Passion in Leonora Carrington's Literary Work • Beauty and/Is the Beast: Animal Symbology in the Work of Leonora Carrington, Remedio Varo, and Leonor Fini • Valentine, Andr�, Paul et les autres, or the Surrealization of Valentine Hugo • Refashioning the World to the Image of Female Desire: The Collages of Aube Ell�ou�t • Eileen Agar • Statement by Dorothea Tanning
The Luck Uglies must face their greatest enemy in this second installment of the series that's a perfect match for fans of Chris Colfer's Land of Stories series and books by Kelly Barnhill. "There is not a single dull moment in this story. A total delight," raved Bookslist in a starred review! Rye O’Chanter was shocked to discover that her father was the leader of the notorious band of outlaws known as the Luck Uglies. Now she too has been declared a criminal in her own village, and she must flee to the strange and remote Isle of Pest while her father faces off against the Luck Uglies’ bitter rivals, the Fork-Tongue-Charmers, on the mainland. But all bets are off when the battle moves to the shores of Pest. To defeat the Fork-Tongue Charmers, Rye must defy a deranged earl, survive a test meant to judge the grit of the fiercest men, and lead the charge in defending the island against a strangely familiar enemy, which means uncovering some long-buried family secrets…. The first Luck Uglies book was named an ALA Notable Children’s Book as well as a New York Public Library Title for Reading and Sharing, and it won the Cybil Award for Middle Grade Speculative Fiction and a Sunshine State Young Readers Award.
Hide spaghetti in your hair, Keep crisps in your underwear. Never Use a Knife and Fork is an outrageous, tongue-in-cheek exploration of mealtime chaos that will have children in stitches. Full of mischief and mess, it shows exactly what you SHOULDN'T do with food -- squish it, slosh it, squirt it, squeeze it! Rollicking rhymes combine perfectly with Nick Sharratt's trademark witty illustrations for a laugh-out-loud look at table manners.
Set in the American South in the years before and during the Civil War, John Wray’s hypnotic new novel is at once a crime story, a bravura work of historical fiction, and a fire-and-brimstone meditation on American credulity and corruption. Thaddeus Morelle’s followers call him “the Redeemer.” Over the years he has led the Island 37 Gang from stealing horses to stealing slaves in an enterprise so nefarious that both the Union and Confederacy have placed a bounty on their heads. But now Morelle is dead, murdered by his puppet and protégé, Virgil Ball, who may rid himself of the Redeemer but can never be free of his Trade. Based on the true story of John Murrell, a figure once as infamous as Jesse James, Canaan’s Tongue is suspenseful and fiercely comic, a modern masterpiece of the American grotesque.