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“One of the best collections I’ve ever read. Every single story is a standout.”—Roxane Gay WINNER OF THE CHAUTAUQUA PRIZE • LONGLISTED FOR THE STORY PRIZE • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR • Refinery29 • BookRiot “Fuses science, myth, and imagination into a dark and gorgeous series of questions about our current predicaments.”­—Anthony Doerr, author of All the Light We Cannot See A dystopian tale about genetically modified septuplets who are struck by a mysterious illness; a love story about a man bewitched by a mermaid; a stirring imagining of the lives of Nigerian schoolgirls in the aftermath of a Boko Haram kidnapping. The stories in All the Names They Used for God break down genre barriers—from science fiction to American Gothic to magical realism to horror—and are united by each character’s brutal struggle with fate. Like many of us, the characters in this collection are in pursuit of the sublime. Along the way, they must navigate the borderland between salvation and destruction. NAMED A MUST-READ BOOK BY Harper’s Bazaar • Entertainment Weekly • AM New York • Reading Women AND A TOP READ BY Elle • Fast Company • The Christian Science Monitor • Bustle • Shondaland • Popsugar • Refinery29 • Bookish • Newsday • The Millions • Asian American Writers’ Workshop • HelloGiggles “Strange and wonderful . . . delightfully unexpected.”—The New York Times Book Review “Completing one [story] is like having lived an entire life, and then being born, breathless, into another.”—Carmen Maria Machado “Captivating.”—NPR “Gripping.”—Los Angeles Review of Books “[A] remarkable debut . . . Sachdeva is seemingly fearless and her talent limitless.”—AM New York “This phenomenal debut short-story collection is filled with stories that bring the otherworldly to life and examine the strangeness of humanity.”—Bustle “So rich they read like dreams . . . They are enormous stories, not in length but in ambition, each an entirely new, unsparing world. Beautiful, draining—and entirely unforgettable.”—Kirkus Reviews (starred review)
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"Emilia Dilke" (1840-1904) was christened Emily Francis Strong and known by her middle name throughout her childhood as the daughter of an army officer-cum-bank manager in Iffley, England, near Oxford, and her days as an art student in London. During her first marriage, she was Francis Pattison or Mrs. Mark Pattison, while her published works of art history and criticism were neutrally signed E. F. S. Pattison. Later, in the 1870s, she privately changed her first name to Emilia, a switch made public when she remarried in 1885. By this second nuptial union she became Lady Dilke, the famous intellectual, feminist, art critic, author, and, eventually, the active and popular President of the Women's Trade Union League for nearly twenty years. A rich work of biography, literary criticism, aesthetic history, and sociocultural inquiry, Names and Stories traces the life of this fascinating and remarkable woman as it was lived under many different appellations and guises. In doing so, the book investigates the full spectrum of nineteenth-century British thought and custom. By studying not only an individual life but the many stories that informed, determined, and challenged that life, author Kali Israel considers Dilke as both subject and object--author and character, player and pawn--in the Victorian world of which she was a part. As they are chronicled, explained, and contextualized in this book, these stories--however they were created, told, or interpreted--move through realms both historical and fictional. Israel's central character experienced not one but two highly visible marriages marked by rampant gossip, high-profile sex scandals, and inconclusive courtroom battles; was considered by some to be the model for the character of Dorothea in Eliot's Middlemarch; and similarly "appeared" in many other novels, plays, and even poems in her own time and up through the mid-twentieth century. Names and Stories is not a conventional "life and times" book, even though it recounts a birth-to-death adventure that is both unique and epochal. Rather, the work utilizes Dilke's myriad narratives as the means to broader critical, historical, and theoretical engagements. Debating the very nature of life-study and biography-writing, Israel employs a wide array of published and primary sources to argue that the "names and stories" of Emilia Dilke can help us understand key conflicts and tensions within Victorian Britain, as well as ongoing cultural arguments. This book thus examines several nineteenth-century pressure-points in this light, among them gender, representation, authority, authorship, knowledge, and political thought. Israel's contemporary and cross-disciplinary study also illuminates such broader themes as the family, the body, narrative, figuration, and historical writing and reading.
From Greece to Palmyra, Tyre or Babylon, the names of the gods, like 'Thundering Zeus', 'Three-faced Moon', 'Baal of the Force' or the enigmatic YHWH, reveal their history, family ties, fields of competence and capacity for action. Shared or specific, these names bring to light networks of gods: the Saviour gods, the Ancestral gods, the gods of a city or a family. Names tell stories about the relationship between men and gods, gods and places, places and cultures and so on. They show how gods travel and spread, how they appear and disappear, how they participate in the political, social, intellectual history of each community. Through the study of divine names, the twelve chapters of this book unfold a gallery of portraits that reveal the changing aspects of the divine throughout the ancient Mediterranean.