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Luis Felipe Fabre's WRITING WITH CACA essays a lyric investigation of the Mexican modernist writer Salvador Novo. The book centers around an investigation and reclaiming of Los Anales, the original, derogatory nickname given to Novo and his compadres in the modernist group Los Contemporáneos. Through Novo, Fabre conjures a poetics of the anus: It is not in vain that the sphinx and the sphincter share a single etymological origin, he writes. Similar to Robert Duncan's HD Book, Susan Howe's My Emily Dickinson, and Pierre Michon's Rimbaud the Son, Fabre's WRITING WITH CACA is as much biography as auto-biography, and brings to the US an important work by an important contemporary Mexican writer. "A page-turner biography of the poet and writer Salvador Novo whose queer shoulder pushed every wall open. In here is Novo's deviant knowledge of what the shit and anus reveal of life, yet "resists is sublimation." This book is not for the timid, or maybe it is precisely for them!"--CAConrad "Luis Felipe Fabre, one of the most exciting and virtuosic Mexican poets of his generation, knows a lot of good shit. He knows a lot about Salvador Novo, the scatalogical Mexican poet of the early 20th century who, according to Octavio Paz, wrote 'not with blood but with caca.' This terrific book (translated with acrobatic brilliance by John Pluecker), is a work of literary history, literary criticism, poetry, and excretory theory that travels from the Aztecs to Sor Juana to the Mexican Revolution and to contemporary times. Fabre makes a compelling argument for the importance of Novo's writing with caca, and for the importance of celebrating writers who are driven by the 'urge to take a crap on all universal literature.'"--Daniel Borzutzky Poetry. Literary Nonfiction.
An “enchanting” memoir of an artist in search of herself: “A sure hit for fans of Sara Benincasa’s Agorafabulous! and Lena Dunham’s Not That Kind of Girl” (Booklist, starred review).Caca Dolce is the “funny, candid, and bracingly self-aware” story of Chelsea Martin’s coming of age as an artist (The Rumpus). We’re with the author of cult novels Mickey and Even Though I Don’t Miss You as an eleven-year-old atheist, trying to will an alien visitation to her neighborhood; fighting with her stepfather and grappling with a Tourette’s diagnosis as she becomes a teenager; falling under the sway of frenemies and crushes in high school; going into debt to afford what might be a meaningless education at an expensive art college; navigating the messy process of falling in love with a close friend; and struggling for independence from her emotionally manipulative father and from the family and friends in the dead-end California town that has defined her upbringing. A book about relationships, class, art, sex, money, family, and growing up weird and poor in the late 1990s and early 2000s, Casa Dolce is “a wild ride of a memoir, and a true glimpse into the mind of an artist as she’s figuring out what life is all about” (Kristin Iversen, Nylon).
Exploring why there is so much fecal matter in literary works that matter Cacaphonies takes fecal matter and its place in literature seriously. Readers and critics have too long overlooked excrement’s vital role in the twentieth- and twenty-first-century French canon. In a stark challenge to the tendency to view this literature through sanitizing abstractions, Annabel L. Kim undertakes close readings of key authors to argue for feces as a figure of radical equality, both a literary object and a reflection on literature itself, without which literary studies is impoverished and sterile. Following the fecal through line in works by Céline, Beckett, Genet, Sartre, Duras, and Gary and the contemporary authors Anne Garréta and Daniel Pennac, Kim shows that shit, far from vanishing from the canon after the early modern period, remains present in the modern and contemporary French literature that follows. She argues that all the shit in the canon expresses a call to democratize literature, making literature for all, just as shit is for (or of) all. She attends to its presence in this prized element of French identity, treating it as a continually uttered desire to manifest the universality France aspires to—as encapsulated by the slogan Liberté, égalité, fraternité—but fails to realize. In shit there is a concrete universalism that traverses bodies with disregard for embodied differences. Cacaphonies reminds us that literature, and the ideas to be found therein, cannot be separated from the corporeal envelopes that create and receive them. In so doing, it reveals the aesthetic, political, and ethical potential of shit and its capacity to transform literature and life.
Just as a distinctive literary voice or style is marked by the ease with which it can be parodied, so too can specific aspects of humor be unique. Playwrights, television writers, novelists, cartoonists, and film scriptwriters use many special technical devices to create humor. Just as dramatic writers and novelists use specific devices to craft their work, creators of humorous materials?from the ancient Greeks to today's stand-up comics?have continued to use certain techniques in order to generate humor. In The Art of Comedy Writing, Arthur Asa Berger argues that there are a relatively limited number of techniques?forty-five in all?that humorists employ. Elaborating upon his prior, in-depth study of humor, An Anatomy of Humor, in which Berger provides a content analysis of humor in all forms?joke books, plays, comic books, novels, short stories, comic verse, and essays?The Art of Comedy Writing goes further. Berger groups each technique into four basic categories: humor involving identity such as burlesque, caricature, mimicry, and stereotype; humor involving logic such as analogy, comparison, and reversal; humor involving language such as puns, wordplay, sarcasm, and satire; and finally, chase, slapstick, and speed, or humor involving action. Berger claims that if you want to know how writers or comedians create humor study and analysis of their humorous works can be immensely insightful. This book is a unique analytical offering for those interested in humor. It provides writers and critics with a sizable repertoire of techniques for use in their own future comic creations. As such, this book will be of interest to people inspired by humor and the creative process?professionals in the comedy field and students of creative writing, comedy, literary humor, communications, broadcast/media, and the humanities.
Have you ever heard the phrase "This is mine?" Well, this is a battle between flies for a major cause! And this cause is the big poop. Will they learn the value of sharing?
Poop as shields. Poop as weapons. Poop as food. These are just some of the many ways that wild animals use poop in nature.
Tallulah Morehead, former movie star, Huffington Post blogger sensation, and authoress of the comic memoir classic, My Lush Life, has this to say about her new memoir, Tallyho, Tallulah! “Readers of My Lush Life will recall a chapter titled ‘The Seventies’ was but a single blank page. That’s because my memory from 1969 to 1980 is as blank as that page. I'm told this is normal. Well, my ghostwriter, Little Dougie McEwan, found a manuscript in my attic, a memoir from the summer of 1974 detailing my adventures in the beachside town of Alta Caca, California. “There was nothing surprising about the sex, martinis, new forgotten husband, or starring in a summer musical based on a classic Bette Davis-Joan Crawford movie. It’s the other stuff that Little Dougie dug up that was truly surprising. Who knew other people could be interesting? But read it, or at least the parts about me, and draw your own conclusions. Cheers, darling.”
This cross-cultural edited volume presents a rich tapestry of experiences, challenges, and innovations, focusing on assessment, course and curriculum design, approaches to pedagogy and teacher professional development in computer-assisted language learning (CALL) in the Global South. Comprising chapters from a broad swathe of international contexts, the book presents varied themes in CALL such as inclusion and social justice, artificial intelligence, barriers to online language teaching, skills-based practices, and professional development. By shedding light on the underrepresented research contexts in the Global South, a number of current innovations in these contexts at theoretical and empirical levels are showcased, resulting in a highly novel and cutting-edge volume that gives voice to perspectives on the implementation of CALL in less-privileged countries. Providing comparative research and innovative ways in which CALL can be harnessed in less-privileged contexts despite lack of resources in some cases, this book will appeal to scholars, researchers, and postgraduate students in the fields of technology in education, language and linguistics, as well as open and distance education and eLearning. CALL and TESOL educators may also benefit from the book.