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..". creates a new definition of American Indian literary texts as aself-representational genre. This is an intelligent and insightful application ofpost-modern critical methods to American Indian texts. The scope of the study isbroad and ambitious, and the attempt to define Indian self-representations fromcolonial times to the present is innovative and instructive." -- Raymond J.DeMallie ..". very suggestive, provocative, engaging... --Studies in American Indian Literatures ..". Murray's bookestablishes itself as the single best introduction to Native American text-making inparticular and the betrayals of the translation in general. An essential acquisitionfor all college and university libraries, and highly recommended for larger publiclibraries." -- Choice "It is a pleasure to recommendwith wholehearted enthusiasm David Murray's Forked Tongues." -- WesternAmerican Literature
Using the menu of a seven-course feast (featuring genuine recipes from chef Cath Kerry) the writers in the Creative Writing courses at the University of Adelaide have prepared for the reader something to savour and to remember.
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.
This fascinating collection of 18 essays sets out to discover the distinctiveness of modern British and American literature by comparing and contrasting the two traditions. It covers all the principal generic categories, poetry, drama and prose, from Eliot, Waugh and Fitzgerald, to Fowles and Philip Roth, and considers some major themes such as women's and black fiction. It uses particular case studies to consider both the way the two literatures have influenced one another and what distinguishing characteristics they each possess.
As a dedicated Native American advocate since the age of 20, author Major Israel McCreight saw the sad plight of the Indians in the period following the Custer Fight and the Battle of Wounded Kane. This book, first published in 1947, is the account of the versions of U.S. history according to the old Sioux Chief, FLYING HAWK. Flying Hawk, who was a nephew of Sitting Bull and fought with Crazy Horse at Little Big Horn, dictated his narrative to McCreight, thus making this an account not from the perspective of “the white man”—but as it really happened... A fascinating read!
How should Latino writers in the United States retain specific cultural identities that may be different from - even contrary to - the hegemonic culture? The answer to this question varies. This book discusses how Caribbean writers Roberto G. Fernández and Tato Laviera both attempt to answer it in wildly creative ways, involving linguistic strategies and tactics, derived from some of the oldest Spanish literary traditions. These authors' «games» show how Janus speaks with his forked tongue - in a monolingual space, toward a rhetoric of bilingualism.
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.
In Archive of Tongues Moon Charania explores feminine dispossession and the brown diaspora through a reflection on the life of her mother. Drawing on her mother’s memories and stories of migration, violence, sexuality, queerness, domesticity, and the intimate economies of everyday life, Charania conceptualizes her mother’s tongue as an object of theory and an archive of brown intimate life. By presenting a mode of storytelling that is sensual and melancholic, piercing and sharp, Charania recovers otherwise silenced modes of brown mothers’ survival, disobedience, and meaning making that are often only lived out in invisible, intimate spaces, and too often disappear into them. In narrating her mother’s tongue as both metaphor for and material reservoir of other ways of knowing, Charania gestures to the afflictions, limits, and failures of feminist, queer, and postcolonial scholarly interrogations and the consequences of closing the archive of the brown mother.