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A revolutionary memoir about domestic abuse by the award-winning author of Her Body and Other Parties In the Dream House is Carmen Maria Machado’s engrossing and wildly innovative account of a relationship gone bad, and a bold dissection of the mechanisms and cultural representations of psychological abuse. Tracing the full arc of a harrowing relationship with a charismatic but volatile woman, Machado struggles to make sense of how what happened to her shaped the person she was becoming. And it’s that struggle that gives the book its original structure: each chapter is driven by its own narrative trope—the haunted house, erotica, the bildungsroman—through which Machado holds the events up to the light and examines them from different angles. She looks back at her religious adolescence, unpacks the stereotype of lesbian relationships as safe and utopian, and widens the view with essayistic explorations of the history and reality of abuse in queer relationships. Machado’s dire narrative is leavened with her characteristic wit, playfulness, and openness to inquiry. She casts a critical eye over legal proceedings, fairy tales, Star Trek, and Disney villains, as well as iconic works of film and fiction. The result is a wrenching, riveting book that explodes our ideas about what a memoir can do and be.
In 1973 twenty-five young women drowned in a ferry accident on their way to work in factories in Taiwan's Kaohsiung Export Processing Zone. Their remains were recovered and interred collectively in what came to be called the Twenty-five Maiden Ladies Tomb. Without a husband's ancestral hall where they would have been laid to rest, the spirits of these unmarried women were considered homeless and possibly vengeful, and so the Maiden Ladies Tomb was viewed as a place to be avoided--especially by young men traveling alone, fearful of encountering a female ghost searching for a husband. Over the years, numerous plans were made to revamp the tomb site; finally, in 2008, at the urging of local feminist communities, the Kaohsiung City government renovated the Twenty-five Maiden Ladies Tomb and renamed it the Memorial Park for Women Laborers. Haunted Modernities interrogates the nature of shared expressions of history, sentiments, and memory as it investigates the role of these women and other female workers in the shifting public narrative during and after the Maiden Ladies Tomb renovation. By exploring the ways in which the deceased young women were perceived to "haunt" the living and the diverse renovations recommended, the book illuminates how women workers in Taiwan have been conceptualized in the last several decades. In their proposals to renovate the tomb, the interested parties forged specific accounts of history, transforming the collective burial site according to varying definitions of "heritage" as Taiwan shifted to a postindustrial economy, where factory jobs were no longer the main source of employment. Their plans engaged with acts of remembering--communal and individual--to create new ways of understanding the present. The Twenty-five Maiden Ladies Tomb as a heritage site elucidates how "history" and "memory" are not simply about the past but part of a forward-looking process that emerges from the social, political, and economic needs of the present, legitimized and validated through its associations with the past.
Alice + Freda Forever is a gut-wrenching story of love, death, and the dangers of intolerance."—Bustle In 1892, America was obsessed with a teenage murderess, but it wasn't her crime that shocked the nation—it was her motivation. Nineteen-year-old Alice Mitchell had planned to pass as a man in order to marry her seventeen-year-old fiancée Freda Ward, but when their love letters were discovered, they were forbidden from ever speaking again. Freda adjusted to this fate with an ease that stunned a heartbroken Alice. Her desperation grew with each unanswered letter—and her father's razor soon went missing. On January 25, Alice publicly slashed her ex-fiancée's throat. Her same-sex love was deemed insane by her father that very night, and medical experts agreed: This was a dangerous and incurable perversion. As the courtroom was expanded to accommodate national interest, Alice spent months in jail—including the night that three of her fellow prisoners were lynched (an event which captured the attention of journalist and civil rights activist Ida B. Wells). After a jury of "the finest men in Memphis" declared Alice insane, she was remanded to an asylum, where she died under mysterious circumstances just a few years later. Alice + Freda Forever recounts this tragic, real-life love story with over 100 illustrated love letters, maps, artifacts, historical documents, newspaper articles, courtroom proceedings, and intimate, domestic scenes.
A fascinating history of Chicago’s innovative and invaluable contributions to American literature and art from the late nineteenth to the mid-twentieth century This remarkable cultural history celebrates the great Midwestern city of Chicago for its centrality to the modernist movement. Author Liesl Olson traces Chicago’s cultural development from the 1893 World’s Fair through mid-century, illuminating how Chicago writers revolutionized literary forms during the first half of the twentieth century, a period of sweeping aesthetic transformations all over the world. From Harriet Monroe, Carl Sandburg, and Ernest Hemingway to Richard Wright and Gwendolyn Brooks, Olson’s enthralling study bridges the gap between two distinct and equally vital Chicago-based artistic “renaissance” moments: the primarily white renaissance of the early teens, and the creative ferment of Bronzeville. Stories of the famous and iconoclastic are interwoven with accounts of lesser-known yet influential figures in Chicago, many of whom were women. Olson argues for the importance of Chicago’s editors, bookstore owners, tastemakers, and ordinary citizens who helped nurture Chicago’s unique culture of artistic experimentation. Cover art by Lincoln Schatz
In Ghost Words and Invisible Giants, Lheisa Dustin engages psychoanalytic theory to describe the “language of suffering” of iconic modernist authors H.D. and Djuna Barnes, tracing disconnection, psychic splitting, and virulent thought patterns in creative works that have usually been read as intentionally enigmatic. Dustin imbricates Barnes and H.D.’s sense of tenuous psychic boundaries with others – parent figures, otherworldly and divine beings, and ambivalent or malignant love objects – in their creative brilliance, suggesting that the writers’ works stage – and also help manage – their psychic suffering in language in which signifier (the sound or image of the word) and signified (what it means) are radically disconnected. The cryptic and ineffable styles of these texts thus involve attempts to embody the meanings that cannot be expressed through language. Dustin reads two of H.D.’s later works as examples of language that does not differentiate words, thoughts, and people from one another, and instead tries to include everything in its formulations of meaning. However, H.D., she argues, also seeks an end to this mental proliferation– an end that she associates with the hallucinatory return of difference as such. In contrast, Dustin reads two novels by Barnes as invoking and denying childhood secrets through the use of fetishized words. To supplement her psychoanalytic readings, Dustin considers the authors’ familial and romantic histories and their broader social involvements or noninvolvement (for instance, H.D.’s Occultist practices and psychoanalytic sessions, Barnes’s fascination with spectacle and her later reclusion), rendering a detailed and compelling analysis of the forces at play beneath enigmatic, “difficult” modernist literary works. Read in this light, the spectral and otherworldly figures and strange patterns of expression appearing in H.D.’s and Barnes’s writing, and perhaps much or our writing, signal the traumatic content that it tries to negate.
The Invisible City explores urban spaces from the perspective of a traveller, writer, and creator of theatre to illuminate how cities offer travellers and residents theatrical visions while also remaining mostly invisible, beyond the limits of attention. The book explores the city as both stage and content in three parts. Firstly, it follows in pattern Italo Calvino's novel Invisible Cities, wherein Marco Polo describes cities to the Mongol emperor Kublai Khan, to produce a constellation of vignettes recalling individual cities through travel writing and engagement with artworks. Secondly, Gillette traces the Teatro Potlach group and its ongoing immersive, site-specific performance project Invisible Cities, which has staged performances in dozens of cities across Europe and the Americas. The final part of the book offers useful exercises for artists and travellers interested in researching their own invisible cities. Written for practitioners, travellers, students, and thinkers interested in the city as site and source of performance, The Invisible City mixes travelogue with criticism and cleverly combines philosophical meditations with theatrical pedagogy.
For poet Ray Gonzalez, growing up in El Paso during the 1960s was a time of loneliness and vulnerability. He encountered discrimination in high school not only for being Latino but also for being a non-athlete in a school where sports were important. Like many young people, he found diversion in music; unlike most, he found solace in the desert. In these vignettes, Gonzalez shares memories of boyhood that tell how he discovered the natural world and his creative spirit. Through 29 storylike essays, he takes readers into the heart of the desert and the soul of a developing poet. Gonzalez introduces us to the people who shaped his life. We learn of his father's difficulties with running a pool hall and of his grandmother's steadfast religious faith. We meet sinister Texas Rangers, hallucinatory poets, illegal aliens, and racist high school jocks. His vivid recollections embrace lizard hunts and rattlesnake dreams, rock music and menudo making—all in stories that convey the pains and joys of growing up on the border. As Gonzalez leads us through his desert of hope and vision, we come to recognize the humor and sadness that permeate this special place.
Shows that Hemingway's work is marked more by vulnerability and deep feeling than by the stoic composure and ironic remove for which it is widely known.
About the Book In this memoir and bibliography, combined with philosophy and short stories, James (Jim) Linn has collected twelve years of quotes from others and how they spoke to him, his deep thoughts, some poetry, and thought-provoking memes. Linn also shares his observations about life and human nature. About the Author James (Jim) Linn played and managed softball teams, both men’s and co-ed, for forty-seven years. He now enjoys playing pickleball five days a week. In his free time, Linn likes to spend time with his family and friends, travel to Europe and different cities in the US, and learn new things.