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These two novellas by the groundbreaking, fearless, and immeasurably influential Robert Coover are dirty, funny and brilliant. In Briar Rose a sleeping beauty is trapped in an enchantment for a hundred years, dreaming of stories in which someone like her wakes up disappointed, or becomes a mother, or is stripped and defiled. And, as she dreams, outside, failed princes die and hang their remains on the thorns of a briar hedge. In Spanking the Maid a maid and her master are each committed to their own hard service: she, attempting to perform her simple duties without error; he, supplying punishment by rod, belt, hairbrush, whip, cane and slipper when she inevitably fails. These tales of desire are Coover at his most darkly playful.
Featuring two darkly funny and subversive novellas from Robert Coover, this volume features 'Spanking the Maid' and 'Briar Rose'.
An allegorical retelling of Sleeping Beauty. It features a princess who dreams of a succession of kissing princes, and a fairy who inhabits her dreams, regaling her with legends of other sleeping beauties. A look at the power of romantic desire.
An American journalist is trapped in Nazi Germany in this variation on the Sleeping Beauty theme.
In Wald's darkly erotic stories, characters enact the intricate and subtle ways that dominance and submission play a role in their daily lives: a young girl dreams of submitting to a boy who's not interested in controlling her, an ex-convict is so accustomed to serving his cellmate that he cannot adjust to the outside world, a professional dominatrix is beaten at her own game by a psychiatrist, and a student lies his way into the home of an army recruiter in order to become his houseboy. Meeting the Master is a provocative exploration of the pleasures and rituals of dominance and submission.
Continues the erotic adventures of Emmanuelle as she makes her way through a steamy trip to Thailand.
Robert Coover and the Generosity of the Page is an unconventional study of Robert Coover's work from his early masterpiece The Origin of the Brunists (1966) to the recent Noir (2010). Written in the second person, it offers a self-reflexive investigation into the ways in which Coover's stories often challenge the reader to resist the conventions of sense-making and even literary criticism. By portraying characters lost in surroundings they often fail to grasp, Coover's work playfully enacts a "(melo)drama of cognition" that mirrors the reader's own desire to interpret and make sense of texts in unequivocal ways. This tendency in Coover's writing is indicative of a larger refusal of the ready-made, of the once-and-for-all or the authoritative, celebrating instead, in its generosity, the widening of possibilities—thus inevitably forcing the reader-critic to acknowledge the arbitrariness and artificiality of her responses.
This text takes on the work of Robert Coover, a major figure of postmodern metafiction. In an analysis of Coover's short stories and novels, it demonstrates how Coover writes in several different modes that cross over into one another.