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In the context of surging interests in reconciliation and decolonization, settler colonialism increasingly occupies political, public, and academic conversations. Nothing to Write Home About is a detailed study of the settler colonial significance of British family correspondence sent between the United Kingdom and British Columbia between 1858 and 1914. Drawing on thousands of letters written by dozens of correspondents, it offers insights into epistolary topics including trans-imperial family intimacy and conflict, settlers’ everyday concerns such as boredom and food, and the importance of what correspondents chose not to write about. Analyzing both the letters’ content and their conspicuous, loaded silences, Laura Ishiguro traces how Britons used the post to navigate the family separations integral to their migration and to understand British Columbia as an uncontested settler home. This book argues that these letters and their writers played a critical role in laying the foundations of a powerful, personal settler colonial order that continues to structure the province today.
"Nothing to Write Home About" is a lightly fictionalized memoir of a now distant period of recent American History, "The Cold War." In mid-1950s America, a rite of male passage was a couple of years of non-threatening, peacetime military service. By 1955, the war in Korea was two years past and Vietnam was still just a name. For the author, then aged eighteen, the Army offered an escape from the confines of a blue-collar neighborhood, a first opening on and into a larger world, a semi-grownup world filled with characters from all over the country, some good, some not so good and some just outlandish. Two years in the Army, with duty in South Carolina, Arkansas, Colorado and finally Germany became, unknowingly at the time, one of the genuinely educational and more memorable experiences of a lifetime.
Have we moved beyond postmodernism? Did postmodernism lose its oppositional value when it became a cultural dominant? While focusing on questions such as these, the articles in this collection consider the possibility that the death of a certain version of postmodernism marks a renewed attempt to re-negotiate and perhaps re-embrace many of the cultural, literary and theoretical assumptions that postmodernism seemly denied outright. Including contributions from some of the leading scholars in the field - N. Katherine Hayles, John D. Caputo, Paul Maltby, Jane Flax, among others - this collection ultimately comes together to perform a certain work of mourning. Through their explorations of this current epistemological shift in narrative and theoretical production, these articles work to "get over" postmodernism while simultaneously celebrating a certain postmodern inheritance, an inheritance that can offer us important avenues to understanding and affecting contemporary culture and society.
“Remarkable.”—New York Times Book Review From Annie Barrows, the acclaimed #1 New York Times–bestselling coauthor of The Guernsey Literary and Potato Peel Pie Society and the author of the award-winning and bestselling Ivy + Bean books, this teen debut tells the story of Charlotte and Frankie, two high school students and best friends who don’t have magical powers, fight aliens, crash their cars, get pierced, or discover they are royal. They just go to school. And live at home. With their parents. A great read for fans of Becky Albertalli, Louise Rennison, and Adi Alsaid. Nothing ever happens to Charlotte and Frankie. Their lives are nothing like the lives of the girls they read about in their YA novels. They don’t have flowing red hair, and hot romantic encounters never happen—let alone meeting a true soul mate. They just go to high school and live at home with their parents, who are pretty normal, all things considered. But when Charlotte decides to write down everything that happens during their sophomore year—to prove that nothing happens and there is no plot or character development in real life—she’s surprised to find that being fifteen isn’t as boring as she thought. It’s weird, heartbreaking, silly, and complicated. And maybe, just perfect.
This is a collection of John Hinde postcards and the messages written on them by holidaymakers between 1960s and 1980s. The text is a celebration of the Britain of yesteryear and documents the heyday of the British holiday postcard.
Some kids refuse to read, others won't stop &– not even at the dinner table! Either way, many parents question the best way to support their child's literacy journey. When can you start reading to your child? How do you find that special book to inspire a reluctant reader? What can you do to keep your tween reading into their adolescent years? Award-winning teacher librarian Megan Daley, the passionate voice behind the Children's Books Daily blog, has the answers to all these questions and more. She unpacks her twenty years of experience into this personable and accessible guide, enhanced with up-to-date research and firsthand accounts from well-known Australian children's authors. It also contains practical tips, such as suggested reading lists and instructions on how to run book-themed activities.Raising Readers is a must-have resource for parents and educators to help the children in their lives fall in love with books.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Hound has a particularly strong sense of smell. He can smell the memories of people and can smell them so strongly in fact that they appear before him as if something real and touchable. In these memories, Hound can walk and talk with the ghosts of people’s past, and—this is the important part—he can make changes, both big and small, wherever he wishes. He may direct someone left instead of right, say something that had not been said before, or even remove a person or event that had bothered the memory keeper. Men pay Hound to kill their ghosts—to destroy some of their most burdensome memories. They pay him handsomely for his services. Recently, though, Hound has grown tired of murdering the ghosts of rich, well-to-do men. The violence has taken its toll. He is tired and wants nothing more than to settle down. He wants a simple life, freed from men’s violent histories. He is tired of being alone with his smells. He needs a friend, someone he can talk to and confine in. And then one day, he meets Jesse, a man with many ghosts, and together, they form a lasting, and unique, friendship in beautiful Wanaka, New Zealand.
Third Language Dictionary is a guide to everyday language that is peculiar to and used by Australian folks from all walks of life no matter what or who they are or the level of success, education, credence, or place in society they have attained.