From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
The celebrated New York Times Bestseller A Best Book of the Year pick at the New York Times, NPR, The New Yorker, TIME, Washington Post, Oprahmag.com, Thrillist, Shelf Awareness, Good Housekeeping and more. What does it take to come back to life? For Jessa-Lynn Morton, the question is not an abstract one. In the wake of her father’s suicide, Jessa has stepped up to manage his failing taxidermy business while the rest of the Morton family crumbles. Her mother starts sneaking into the taxidermy shop to make provocative animal art, while her brother, Milo, withdraws. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. It’s not until the Mortons reach a tipping point that a string of unexpected incidents begins to open up surprising possibilities and second chances. But will they be enough to salvage this family, to help them find their way back to one another? Kristen Arnett’s breakout bestseller is a darkly funny family portrait; a peculiar, bighearted look at love and loss and the ways we live through them together.
‘Don’t Play with Dead Things’ is a collection of 30 short stories, made up of exactly 100 words, filled with horror and dark humour, perfect for when the sun goes down. Here you will see why you shouldn’t play with dead things, when: A clown discovers it’s not so scary… The women show the men who’s boss… Kitchen appliances get even… Toys want to play with you… Trick or Treating is not that much fun… Monsters are good-old fashion monsters, and more.
Three reapers. Two worlds. One prophecy. Seventeen-year-old Ember Lonergan has made an art of isolating herself. She prefers the dead. She spends her days skipping school in old cemeteries and her nights hiding from her alcoholic father at the funeral home where she works. When her own father dies, Ember learns her whole life is a lie. Mace is a monster, a soulless assassin tasked with a single purpose: follow Ember. He only has two rules. Do not interact with her. Do not to kill her. Simply watch and report. But Mace has never been good at following orders, and Ember is a temptation he simply can't resist. Whisked away to a small Florida town, Ember must learn to embrace a family she's never known, a supernatural world she never knew existed, and a power so vast it just might kill her. All that stands between Ember and destruction is that beautiful dangerous boy from the cemetery. Can she learn to trust him before it's too late? This edition features exclusive hidden art under the dust jacket.
Dead End in Norvelt is the winner of the 2012 Newbery Medal for the year's best contribution to children's literature and the Scott O'Dell Award for Historical Fiction! Melding the entirely true and the wildly fictional, Dead End in Norvelt is a novel about an incredible two months for a kid named Jack Gantos, whose plans for vacation excitement are shot down when he is "grounded for life" by his feuding parents, and whose nose spews bad blood at every little shock he gets. But plenty of excitement (and shocks) are coming Jack's way once his mom loans him out to help a fiesty old neighbor with a most unusual chore—typewriting obituaries filled with stories about the people who founded his utopian town. As one obituary leads to another, Jack is launced on a strange adventure involving molten wax, Eleanor Roosevelt, twisted promises, a homemade airplane, Girl Scout cookies, a man on a trike, a dancing plague, voices from the past, Hells Angels . . . and possibly murder. Endlessly surprising, this sly, sharp-edged narrative is the author at his very best, making readers laugh out loud at the most unexpected things in a dead-funny depiction of growing up in a slightly off-kilter place where the past is present, the present is confusing, and the future is completely up in the air.
As her father lies gravely ill with pancreatic cancer, eighteen-year-old Victoria's last hope is to find a vampire in New Orleans, an impossible mission that rekindles a special friendship.
Nearly two decades have passed since the fall of the United States and the rise of the church to fill the void. Science is heresy, and the dead must be decapitated before they dine on the living. When a plane crash strands Ian Sumner and a band of survivors in the wilderness, survival depends on secrets too dangerous to speak aloud.
"Gilda, a twenty-something, atheist, animal-loving lesbian, cannot stop ruminating about death. Desperate for relief from her panicky mind and alienated from her repressive family, she responds to a flyer for free therapy at a local Catholic church, and finds herself being greeted by Father Jeff, who assumes she's there for a job interview. Too embarrassed to correct him, Gilda is abruptly hired to replace the recently deceased receptionist Grace. In between trying to memorize the lines to Catholic mass, hiding the fact that she has a new girlfriend, and erecting a dirty dish tower in her crumbling apartment, Gilda strikes up an email correspondence with Grace's old friend. She can't bear to ignore the kindly old woman, who has been trying to reach her friend through the church inbox, but she also can't bring herself to break the bad news. Desperate, she begins impersonating Grace via email. But when the police discover suspicious circumstances surrounding Grace's death, Gilda may have to finally reveal the truth of her mortifying existence."--Amazon.
A spellbinding novel that will resonate with readers of Mark Haddon, Louise Erdrich, and John Irving, Perfect tells the story of a young boy who is thrown into the murky, difficult realities of the adult world with far-reaching consequences. Byron Hemmings wakes to a morning that looks like any other: his school uniform draped over his wooden desk chair, his sister arguing over the breakfast cereal, the click of his mother’s heels as she crosses the kitchen. But when the three of them leave home, driving into a dense summer fog, the morning takes an unmistakable turn. In one terrible moment, something happens, something completely unexpected and at odds with life as Byron understands it. While his mother seems not to have noticed, eleven-year-old Byron understands that from now on nothing can be the same. What happened and who is to blame? Over the days and weeks that follow, Byron’s perfect world is shattered. Unable to trust his parents, he confides in his best friend, James, and together they concoct a plan. . . . As she did in her debut, The Unlikely Pilgrimage of Harold Fry, Rachel Joyce has imagined bewitching characters who find their ordinary lives unexpectedly thrown into chaos, who learn that there are times when children must become parents to their parents, and who discover that in confronting the hard truths about their pasts, they will forge unexpected relationships that have profound and surprising impacts. Brimming with love, forgiveness, and redemption, Perfect will cement Rachel Joyce’s reputation as one of fiction’s brightest talents. Praise for Perfect “Touching, eccentric . . . Joyce does an inviting job of setting up these mysterious circumstances, and of drawing Byron’s magical closeness with Diana.”—Janet Maslin, The New York Times “Haunting . . . compelling.”—Minneapolis Star Tribune “[Joyce] triumphantly returns with Perfect. . . . As Joyce probes the souls of Diana, Byron and Jim, she reveals—slowly and deliberately, as if peeling back a delicate onion skin—the connection between the two stories, creating a poignant, searching tale.”—O: The Oprah Magazine “Perfect touches on class, mental illness, and the ways a psyche is formed or broken. It has the tenor of a horror film, and yet at the end, in some kind of contortionist trick, the narrative unfolds into an unexpected burst of redemption. [Verdict:] Buy It.”—New York “Joyce’s dark, quiet follow-up to her successful debut, The Unlikely Pilgrimage of Harold Fry, could easily become a book club favorite. . . . Perfect is the kind of book that blossoms under thoughtful examination, its slow tendencies redeemed by moments of loveliness and insight. However sad, Joyce’s messages—about the limitations of time and control, the failures of adults and the fears of children, and our responsibility for our own imprisonment and freedom—have a gentle ring of truth to them.”—The Washington Post “There is a poignancy to Joyce’s narrative that makes for her most memorable writing.”—NPR’s All Things Considered
The Dead Gentleman is a wild ride between parallel New York City timestreams—1901 and today. Eleven-year-old Tommy Learner is a street orphan and an unlikely protege to the Explorers, a secret group dedicated to exploring portals—the hidden doorways to other worlds. But while investigating an attercop (man-eating spider) in the basement of an old hotel, Tommy is betrayed—and trapped. And it's then that his world collides with that of modern-day Jezebel Lemon, who, until the day she decides to explore her building's basement, had no bigger worries than homework and boys. Now, Jezebel and Tommy must thwart the Dead Gentleman, a legendary villain whose last unconquered world is our own planet Earth, a realm where the dead stay dead. Until now. Can two kids put an end to this ancient evil and his legions of Gravewalkers?
