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A critique of the nature of narrative now and a celebration of the energies that are undoing our definitions of women's work.
The novel was once upon a time the genre women felt at home in. This wide- ranging and detailed study of contemporary novelists explores the forms of nostalgia (shared by many feminist critics) for a 'woman's novel'; and the subtle or savage strategies which have turned the house of fiction upside down. The result is a critique of the nature of narrative now; and a celebration of the energies that are undoing our definitions of women's work.
In this graphic novel, science fiction meets psychosexual drama when four women try to bring “civilization” to the natives of a remote planet on the fringes of the known universe. Something dark is growing in Mopu. The only question is whether the danger that will undo the women’s delicate camaraderie is outside the gates―or within. House of Women is Goldstein’s second solo graphic novel, following 2015’s The Oven (AdHouse Books), which appeared on many year-end “Best of ” lists, including Publisher’s Weekly and Slate.
From the gothic fantasies of Walpole’s Otranto to post-modern takes on the country house by Kazuo Ishiguro and Ian McEwan, Phyllis Richardson guides us on a tour through buildings real and imagined to examine how authors’ personal experiences helped to shape the homes that have become icons of English literature. We encounter Jane Austen drinking ‘too much wine’ in the lavish ballroom of a Hampshire manor, discover how Virginia Woolf’s love of Talland House at St Ives is palpable in To the Lighthouse, and find Evelyn Waugh remembering Madresfield Court as he plots Charles Ryder’s return to Brideshead. Drawing on historical sources, biographies, letters, diaries and the novels themselves, House of Fiction opens the doors to these celebrated houses, while offering candid glimpses of the writers who brought them to life.
A stunning New York Times bestselling novel that intertwines the stories of an escaped slave in 1852 Virginia and an ambitious young lawyer in contemporary New York and asks: is it ever too late to right a wrong? Lynnhurst, Virginia, 1852. Seventeen-year-old Josephine Bell decides to run away from the failing tobacco farm where she is a slave and nurse to her ailing mistress, the aspiring artist Lu Anne Bell. New York City, 2004. Lina Sparrow, an ambitious first-year associate in an elite law firm, is given a difficult, highly sensitive assignment that could make her career: finding the “perfect plaintiff” to lead a historic class-action lawsuit worth trillions of dollars in reparations for descendants of American slaves. It is through her father, the renowned artist Oscar Sparrow, that Lina discovers Josephine Bell and a controversy rocking the art world: are the iconic paintings long ascribed to Lu Anne Bell really the work of her house slave, Josephine? A descendant of Josephine’s—if Lina can locate one—would be the perfect face for the reparations lawsuit. While following the runaway house girl’s faint trail through old letters and plantation records, Lina finds herself questioning her own family history and the secrets that her father has never revealed: how did Lina’s mother die? And why will he never speak about her?
DeLamotte's book begins from the premise that the major conventions of the Gothic romance involve boundaries or barriers, which the Gothicist uses to play simultaneously on the fear of separateness and the fear of unity with some alien Other. She explores this question in the works of English and American writers, including Henry James, Mary Shelley, Herman Melville, Hawthorne, Emily Bronte, and Charlotte Bronte.
This singular history of a prison, and the queer women and trans people held there, is a window into the policing of queerness and radical politics in the twentieth century. The Women's House of Detention, a landmark that ushered in the modern era of women's imprisonment, is now largely forgotten. But when it stood in New York City's Greenwich Village, from 1929 to 1974, it was a nexus for the tens of thousands of women, transgender men, and gender-nonconforming people who inhabited its crowded cells. Some of these inmates--Angela Davis, Andrea Dworkin, Afeni Shakur--were famous, but the vast majority were incarcerated for the crimes of being poor and improperly feminine. Today, approximately 40 percent of the people in women's prisons identify as queer; in earlier decades, that percentage was almost certainly higher. Historian Hugh Ryan explores the roots of this crisis and reconstructs the little-known lives of incarcerated New Yorkers, making a uniquely queer case for prison abolition--and demonstrating that by queering the Village, the House of D helped defined queerness for the rest of America. From the lesbian communities forged through the Women's House of Detention to the turbulent prison riots that presaged Stonewall, this is the story of one building and much more: the people it caged, the neighborhood it changed, and the resistance it inspired.
Feminist autofiction from one of Sweden’s blazing talents. “Ramqvist is a serious contender for the Swedish literary limelight.” —Shelf Awareness Blending autofiction and essay, The Bear Woman is a journey of feminism and literary detective work spanning centuries and continents. In the 1540s, a young French noblewoman, Marguerite de la Rocque, was abandoned on an island in the Gulf of Saint Lawrence with her maidservant and her lover. In present-day Stockholm, an author and mother becomes captivated by the image of Marguerite sheltered in a dark cave after her companions have died. This image soon becomes an obsession. She must find out the real story of the woman she calls the Bear Woman. But so much in this history is written so as to gloss over male violence. And the maps and other sources she consults are at times undecipherable. Karolina Ramqvist explores what it means to write history—and to live it. “Karolina Ramqvist writes with frosty precision the kind of literature that is unforgettable. Her portraits of women hit deep into bone and marrow.” – Dorthe Nors, author of A Line in the World “Ramqvist’s acute rendering of embodied sensual experience combined with her evocation of her double character’s increasingly desperate circumstances create a story of high tension, startling insights, and lasting resonance.” – Siri Hustvedt, author of Mothers, Fathers and Others “One of my favorite discoveries from this year.” – Samanta Schweblin, author of Little Eyes “Ramqvist is a serious contender for the Swedish literary limelight.” – Shelf Awareness
Delilah and Gavin’s new love is threatened by a force uncomfortably close to home in this haunting novel from New York Times bestselling duo Christina Lauren, authors of Beautiful Bastard. His shirt is black, jeans are black, and shaggy black hair falls into his eyes. And when Gavin looks up at Delilah, the dark eyes shadowed with bluish circles seem to flicker to life. He lives in that house, the one at the edge of town. Spooky and maybe haunted. Something worse than haunted. And Gavin is trapped by its secrets. Delilah and Gavin can’t resist each other. But staying together will exact a price beyond their imagining.
A young girl named Eepersip lives with her parents in a cottage, but she feels trapped within its confines, so she leaves home to live a freer life in the wild. After leaving her parents’ home, she establishes a life for herself outdoors, rejecting both the society of adults and the comforts of civilization. Initially, she is happy to live in a meadow near her family’s home, but over time she is tempted to seek out new natural environments to live in. Meanwhile, her parents attempt to locate their daughter and to bring her back home. Follett started writing the novel in 1923 at the age of 8, but the first draft was lost in a house fire, which led her to rewrite the entire work. It was eventually published to critical success in 1927, when she was just 12 years old. This book is part of the Standard Ebooks project, which produces free public domain ebooks.