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Rather than write briefly about each of the many documentary films Wiseman has made over the past 20 years, Benson (rhetoric and communication arts and sciences, Pennsylvania State U.) and Anderson (communication, U. of Massachusetts-Amherst) choose a few representative examples. They interpret the films, look at the rhetorical structures, and explore the people and processes. The first edition was published in 1989. Annotation copyrighted by Book News, Inc., Portland, OR
An inspiring visual guide to a richer life. “If there’s a thinker to steal from, it’s Jessica Hagy.”—Austin Kleon, author of Steal Like an Artist and Newspaper Blackout How to Be Interesting is passionate, positive, down-to-earth, and irrepressibly upbeat, combining fresh and pithy life lessons, often just a sentence or two, with deceptively simple diagrams and graphs. Each of the book's more than 100 spreads will nudge readers a little bit further out of their comfort zones and into a place where suddenly everything is possible. It’s about taking chance—but also about taking daily vacations. About being childlike, not childish. It’s about ideas, creativity, risk. It’s about trusting your talents and doing only what you want—but having the courage to get lost and see where the path leads. Because it’s what you don’t know that’s interesting.
Ever since Keith Ridgway published his landmark cult novel Hawthorn & Child, his ardent fans have yearned for more Finally, Ridgway gives us A Shock, his thrilling and unsparing, slippery and shockingly good new novel. Formed as a rondel of interlocking stories with a clutch of more or less loosely connected repeating characters, it’s at once deracinated yet potent with place, druggy yet frighteningly shot through with reality. His people appear, disappear, and reappear. They’re on the fringes of London, clinging to sanity or solvency or a story by their fingernails, consumed by emotions and anxieties in fuzzily understood situations. A deft, high-wire act, full of imprecise yet sharp dialog as well as witchy sleights of hand reminiscent of Muriel Spark, A Shock delivers a knockout punch of an ending. Perhaps Ridgway’s most breathtaking quality is his scintillating stealthiness: you can never quite put your finger on how he casts his spell—he delivers the shock of a master jewel thief (already far-off and scot-free) stealing your watch: when at some point you look down at your wrist, all you see is that in more than one way you don’t know what time it is…
Wildly acclaimed in Canada, this book marks the debut of a remarkable young writer first published by McSweeney's when she was twenty-three and living at home with her dad and brother. The Middle Stories is a strikingly original collection of stories, fables, and short brutalities that are alternately heartwarming, cruel, and hilarious. This edition, marking the 10th anniversary of The Middle Stories, will be designed in the newly iconic McSweeney's paperback style, and will be published shortly before Heti's newest novel, How Should A Person Be?, emigrates from Canada via Henry Holt & Co.
SHORTLISTED FOR THE BOLLINGER EVERYMAN WODEHOUSE PRIZE A wry, provocative and very funny debut novel about identity, authenticity and the self in the age of the internet ‘I loved it’ Zadie Smith ‘Brilliant, very funny’ Guardian ‘Prepare to feel very seen’ I-D
Reconstructing Woman explores a scenario common to the works of four major French novelists of the nineteenth century: Balzac, Flaubert, Zola, and Villiers. In the texts of each author, a &“new Pygmalion&” (as Balzac calls one of his characters) turns away from a real woman he has loved or desired and prefers instead his artificial re-creation of her. All four authors also portray the possibility that this simulacrum, which replaces the woman, could become real. The central chapters examine this plot and its meanings in multiple texts of each author (with the exception of the chapter on Villiers, in which only &“L&’Eve future&” is considered). The premise is that this shared scenario stems from the discovery in the nineteenth century that humans are transformable. Because scientific innovations play a major part in this discovery, Dorothy Kelly reviews some of the contributing trends that attracted one or more of the authors: mesmerism, dissection, transformism, and evolution, new understandings of human reproduction, spontaneous generation, puericulture, the experimental method. These ideas and practices provided the novelists with a scientific context in which controlling, changing, and creating human bodies became imaginable. At the same time, these authors explore the ways in which not only bodies but also identity can be made. In close readings, Kelly shows how these narratives reveal that linguistic and coded social structures shape human identity. Furthermore, through the representation of the power of language to do that shaping, the authors envision that their own texts would perform that function. The symbol of the reconstruction of woman thus embodies the fantasy and desire that their novels could create or transform both reality and their readers in quite literal ways. Through literary analyses, we can deduce from the texts just why this artificial creation is a woman.
The Lonely Soldier--the inspiration for the documentary The Invisible War--vividly tells the stories of five women who fought in Iraq between 2003 and 2006--and of the challenges they faced while fighting a war painfully alone. More American women have fought and died in Iraq than in any war since World War Two, yet as soldiers they are still painfully alone. In Iraq, only one in ten troops is a woman, and she often serves in a unit with few other women or none at all. This isolation, along with the military's deep-seated hostility toward women, causes problems that many female soldiers find as hard to cope with as war itself: degradation, sexual persecution by their comrades, and loneliness, instead of the camaraderie that every soldier depends on for comfort and survival. As one female soldier said, "I ended up waging my own war against an enemy dressed in the same uniform as mine." In The Lonely Soldier, Benedict tells the stories of five women who fought in Iraq between 2003 and 2006. She follows them from their childhoods to their enlistments, then takes them through their training, to war and home again, all the while setting the war's events in context. We meet Jen, white and from a working-class town in the heartland, who still shakes from her wartime traumas; Abbie, who rebelled against a household of liberal Democrats by enlisting in the National Guard; Mickiela, a Mexican American who grew up with a family entangled in L.A. gangs; Terris, an African American mother from D.C. whose childhood was torn by violence; and Eli PaintedCrow, who joined the military to follow Native American tradition and to escape a life of Faulknerian hardship. Between these stories, Benedict weaves those of the forty other Iraq War veterans she interviewed, illuminating the complex issues of war and misogyny, class, race, homophobia, and post-traumatic stress disorder. Each of these stories is unique, yet collectively they add up to a heartbreaking picture of the sacrifices women soldiers are making for this country. Benedict ends by showing how these women came to face the truth of war and by offering suggestions for how the military can improve conditions for female soldiers-including distributing women more evenly throughout units and rejecting male recruits with records of violence against women. Humanizing, urgent, and powerful, The Lonely Soldier is a clarion call for change.
The Savage Detectives elicits mixed feelings. An instant classic in the Spanish-speaking world upon its 1998 publication, a critical and commercial smash on its 2007 translation into English, Roberto Bolaño’s novel has also been called an exercise in 1970s nostalgia, an escapist fantasy of a romanticized Latin America, and a publicity event propped up by the myth of the bad-boy artist. David Kurnick argues that the controversies surrounding Bolaño’s life and work have obscured his achievements—and that The Savage Detectives is still underappreciated for the subtlety and vitality of its portrait of collective life. Kurnick explores The Savage Detectives as an epic of social structure and its decomposition, a novel that restlessly moves between the big configurations—of states, continents, and generations—and the everyday stuff—parties, jobs, moods, sex, conversation—of which they’re made. For Kurnick, Bolaño’s book is a necromantic invocation of life in history, one that demands surrender as much as analysis. Kurnick alternates literary-critical arguments with explorations of the novel’s microclimates and neighborhoods—the little atmospheric zones where some of Bolaño’s most interesting rethinking of sexuality, politics, and literature takes place. He also claims that The Savage Detectives holds particular interest for U.S. readers: not because it panders to them but because it heralds the exhilarating prospect of a world in which American culture has lost its presumptive centrality.
Keith Ridgway's third novel is a psychological menagerie of confusion, paranoia, searching and love. Narrated by an illustrator who can no longer draw, it tells of the sudden and inexplicable collapse of a private life, and the subsequent stubborn search for a place from which to take stock.