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In Praise of the Whip: A Cultural History of Arousal is a new history of voluntary flagellation in Europe, from its invention in medieval relgious devotion to its use in the modern pornographic imagination. Working with a wide range of religious, literary, and medical texts and images, Niklaus Largier explores the emotional and sensual, religious and erotic excitement of the whip, a crucial instrument of stimulation in devotional and sexual practices. From early modern pornography to the Marquis de Sade and the fantasies of Swinburne and Joyce, the erotic and devotional imagination drew on the whip. Largier explores how the Reformation and Counter-Reformation problematized the medieval culture of arousal. The stimulating qualities of medieval visual displays, especially flagellant practices, processions, and spectacles, were subjected to a criticsm that sought to control the imagination. In modern bourgeois life the practice, effects, and imagery of flagellation became a central site of the investigation into concerns and anxieties about exercising emotional self-control and censoring fantasy. Modern references to flagellant practice in the works of Swinburne, Proust, and Joyce testified not only to a “decadent” fascination with “medieval” cultures or “perverse sexuality,” but also to a fascination that nineteenth-century censorship, informed by psychopathological discourse, had obliterated. Such histories of flagellation, Largier explains, were attempts to recover a culture of stimulation and imagination — both erotic and devotional — that transcended the modern boundaries of sexuality.
The Whip is inspired by the true story of a woman, Charlotte "Charley" Parkhurst (1812-1879) who lived most of her extraordinary life as a man. As a young woman in Rhode Island, she fell in love and had a child. Her husband was lynched and her baby killed. The destruction of her family drove her west to California, dressed as a man, to track down the murder. Charley became a renowned stagecoach driver. She killed a famous outlaw, had a secret love affair, and lived with a housekeeper who, unaware of her true sex, fell in love with her. Charley was the first woman to vote in America (as a man). Her grave lies in Watsonville, California.
You never know where the road may lead you. Or who you’ll find along the way… When Whip comes across a disabled motorcycle at the foot of the mountain—the one that’s nothing but bad news—he hopes the stranded rider is nothing more than just that. Someone who needs help. And not a trap. Or an undercover fed. When her motorcycle breaks down on a deserted road, Fallon Murphy’s caught off guard by the mechanic with the sexy smirk who comes to her rescue. After shedding her restrictive corporate chains, she’s now living life on her own terms. She no longer answers to anyone for anything. Like most bikers, her motto is “live free, ride free.” But that’s where her and Whip’s similarities end. The saying is “opposites attract,” but Whip tried that once before. It didn’t work out. Fallon’s not only far out of his league, they couldn’t be more opposite. Even so, he isn’t easily deterred. However, to his surprise, Fallon has her own plans and isn’t shy about going after what she wants. Meanwhile, trouble on that mountain is brewing, and no one is safe. His MC stands at a crossroads, and it’s time for the Fury to take action once and for all. No more excuses. No more quarter. No mercy given. Especially from the one who goes by that name. Note: Blood & Bones: Whip is the eleventh book in the Blood Fury MC series. This older woman/ younger man romance (seven-year difference) has no cheating, no cliffhanger, and has an HEA. It’s highly recommended to read this series in order.
Ron Edwards was born in Australia in 1930 and brought up in the country where small farmers still plowed with horses and harvested their half acres with sickles and scythes, and larger properties relied on the annual visit of the steam-driven threshing machines. By the 1940s all this had vanished, and Edwards had realized that the country's traditional crafts also were disappearing. He began making drawings and notes of them and published these materials in his native country. How to Make Whips is the American edition of his ninth book. The first section gives instructions for a basic eight-strand whip; the second deals with the making of fine kangaroo hide whips. Other chapters explain the making of bullwhips, snake whips, and whips made from precut lace. Also included are instructions on plaiting names in whips and using plaiting designs for whip handles.
Internet trolls live to upset as many people as possible, using all the technical and psychological tools at their disposal. They gleefully whip the media into a frenzy over a fake teen drug crisis; they post offensive messages on Facebook memorial pages, traumatizing grief-stricken friends and family; they use unabashedly racist language and images. They take pleasure in ruining a complete stranger's day and find amusement in their victim's anguish. In short, trolling is the obstacle to a kinder, gentler Internet. To quote a famous Internet meme, trolling is why we can't have nice things online. Or at least that's what we have been led to believe. In this provocative book, Whitney Phillips argues that trolling, widely condemned as obscene and deviant, actually fits comfortably within the contemporary media landscape. Trolling may be obscene, but, Phillips argues, it isn't all that deviant. Trolls' actions are born of and fueled by culturally sanctioned impulses -- which are just as damaging as the trolls' most disruptive behaviors. Phillips describes, for example, the relationship between trolling and sensationalist corporate media -- pointing out that for trolls, exploitation is a leisure activity; for media, it's a business strategy. She shows how trolls, "the grimacing poster children for a socially networked world," align with social media. And she documents how trolls, in addition to parroting media tropes, also offer a grotesque pantomime of dominant cultural tropes, including gendered notions of dominance and success and an ideology of entitlement. We don't just have a trolling problem, Phillips argues; we have a culture problem. This Is Why We Can't Have Nice Things isn't only about trolls; it's about a culture in which trolls thrive.
A New York Times Best Illustrated Book From highly acclaimed author Jenkins and Caldecott Medal–winning illustrator Blackall comes a fascinating picture book in which four families, in four different cities, over four centuries, make the same delicious dessert: blackberry fool. This richly detailed book ingeniously shows how food, technology, and even families have changed throughout American history. In 1710, a girl and her mother in Lyme, England, prepare a blackberry fool, picking wild blackberries and beating cream from their cow with a bundle of twigs. The same dessert is prepared by an enslaved girl and her mother in 1810 in Charleston, South Carolina; by a mother and daughter in 1910 in Boston; and finally by a boy and his father in present-day San Diego. Kids and parents alike will delight in discovering the differences in daily life over the course of four centuries. Includes a recipe for blackberry fool and notes from the author and illustrator about their research.
This classic manifesto is “a foundational text for anyone hoping to understand transgender politics and culture in the U.S. today.” (NPR) *Named as one of 100 Best Non-Fiction Books of All Time by Ms. Magazine* In Whipping Girl, biologist and trans activist Julia Serano shares her experiences and insights—both pre- and post-transition—to reveal the ways in which fear, suspicion, and dismissiveness toward femininity shape our attitudes toward trans women, as well as gender and sexuality as a whole. Serano's well-honed arguments and pioneering advocacy stem from her ability to bridge the gap between the often-disparate biological and social perspectives on gender. In this provocative manifesto, she exposes how deep-rooted the cultural belief is that femininity is frivolous, weak, and passive. In addition to debunking popular misconceptions about being transgender, Serano makes the case that today's feminists and transgender activists must work to embrace and empower femininity—in all of its wondrous forms.
Bob Odenkirk is a legend in the comedy-writing world, winning Emmys and acclaim for his work on Saturday Night Live, Mr. Show with Bob and David, and many other seminal TV shows. This book, his first, is a spleen-bruisingly funny omnibus that ranges from absurdist monologues (“Martin Luther King, Jr’s Worst Speech Ever”) to intentionally bad theater (“Hitler Dinner Party: A Play”); from avant-garde fiction (“Obituary for the Creator of Madlibs”) to free-verse poetry that's funnier and more powerful than the work of Calvin Trillin, Jewel, and Robert Louis Stevenson combined. Odenkirk's debut resembles nothing so much as a hilarious new sketch comedy show that’s exclusively available as a streaming video for your mind. As Odenkirk himself writes in “The Second Coming of Jesus and Lazarus,” it is a book “to be read aloud to yourself in the voice of Bob Newhart.”
Introduction: A contagion, a power -- Early modern cheerfulness. Body, heaven, home : cheerful places -- Among the cheerful : the emotional life of charity -- Medicine, manners, and reading for the kidneys -- Shakespeare, or the politics of cheer -- Montaigne, or the cheerful self -- Cheerful economies and bourgeois culture. Social virtue, enlightenment emotion : Hume and Smith -- Jane Austen, or cheer in time -- Cheerful ambition in the age of capital : Dickens to Alger -- Gay song and natural cheer : Milton, Wordsworth -- Modern cheerfulness. The gay scientists : philosophy and poetry -- It is amazing! Self-help and self-marketing -- "Take it, Satch!" : cheer in dark times -- Conclusion: Cheer in pandemic days.
Sid Halley, now a private investigator with a bionic hand, finds himself uncovering corruption in the racing world.