Best understood in terms of a Dionysian aesthetics, her work is sensual, erotic, and playful, but also reflective, violent on occasion, and always marked by a tragic under-current that becomes magnified with time. Beyond the prominent place she held in the world of French letters, Noailles' lifelong commitment to artistic creation invites a reconsideration of her work."--BOOK JACKET.
Derrick Hernandez and Tess D'Ovidio have been best friends forever. There's nothing they wouldn't do for one another. But their childhood bond is put to the test when Tess shows up on Derrick's porch covered in blood...
Tess has no memory of what happened. She'd gone to a bush party with one of the football players. She remembers the bonfire...and then, nothing. Working backward, Tess and Derrick learn that she and seven other players were the only ones to make it back from the party alive.
During the next few weeks, each of the survivors is plagued with nightmares that reveal fragments of memories from the horrific night. But when the young men start dying under mysterious circumstances, Derrick can't figure out if Tess is next--or if she's somehow responsible. All he knows is that he has to save his best friend--or die trying...
"Blood and Other Matter is chilling and compelling--the fastest page turner I've read in a long time! From the opening line to the unexpected conclusion, every page kept me guessing. And kept me up at night."--EJ Lawrence, contributing editor Unbound
Kaitlin Bevis spent her childhood curled up with a book and a pen. After graduating college with a Masters in English, Kaitlin went on to write The Daughters of Zeus series, and now a young adult horror novel, Blood and Other Matter.
Even prior to her widely observed 500th anniversary, Teresa of Ávila (1515-1582) was already considered one of the most important authors of occidental mysticism. This volume gathers together contributions from a multitude of disciplines to explore the writings and reception of the Spanish author and saint. Previously disregarded lines of tradition are explored for a new understanding of her oeuvre, which is examined here with special regard to the potential to affect its readers. Teresa proves to not only be an accomplished, but also a very literary writer. Santa Teresa proves to be a figure of cultural memory, and the diffusion of her thinking is traced up to the present, whereby a recurrent focus is put on the phenomenon of ecstasy. Part of the widespread resonance of her work is the image of the iconic saint whose emergence as an international phenomenon is presented here for the first time. The volume is closed by an interview with Marina Abramovi answering four questions about Teresa.
The steady development of queer theory over the last two decades has provided useful analytical tools and the will to dismiss the watchdog of heteronormativity. Modes of reading have evolved, as this volume of FLS amply attests. Following Bill Edmiston’s introduction to the volume — a concise and informative history of queer theory — the fifteen articles reveal, not surprisingly, significant diversity. One deals with queerness in the context of medieval writing where allegorical and euphemistic expression were understood to be irreconcilable. Another treats translations in Early Modern France of an Ovidian fable that had an inconvenient lesbian dimension. Rousseau’s fixation on his bottom (e.g., for spankings) points to a queer streak, while Gautier’s Mademoiselle de Maupin enhances the theme of sexual misidentity with ornamental figures. The queerness of Sand’s La Mare au diable emerges in the course of a contrasexual reading. A musicologist investigates the possibility of a lesbian esthetics of music in a work by Erik Satie, while a literary scholar finds evidence of Proust’s “outing” in Jean Santeuil. Other articles address the sense of gender transformation wrought by sodomy, a revised view on the writing subject in Jean Genet’s fiction, the queerness of heterosexuality in the works of Michel Houellebecq, and recurring motifs in recent fiction produced by “gay Paris.” Two of the articles treat activism and esthetics in film.
The Facts On File Companion to World Poetry : 1900 to the Present is a comprehensive introduction to 20th and 21st-century world poets and their most famous, most distinctive, and most influential poems.
The Third Republic, known as the ‘belle époque’, was a period of lively, articulate and surprisingly radical feminist activity in France, borne out of the contradiction between the Republican ideals of liberty, equality and fraternity and the reality of intense and systematic gender discrimination. Yet, it also was a period of intense and varied artistic production, with women disproving the critical nearconsensus that art was a masculine activity by writing, painting, performing, sculpting, and even displaying an interest in the new "seventh art" of cinema. This book explores all these facets of the period, weaving them into a complex, multi-stranded argument about the importance of this rich period of French women’s history.
“In this entertaining academic history of these rival magazines, Mesch . . . explores the emergence of the working woman in France.” —Publishers Weekly At once deeply historical and surprisingly timely, Having It All in the Belle Epoque shows how the debates that continue to captivate high-achieving women in America and Europe can be traced back to the early 1900s in France. The first two photographic magazines aimed at women, Femina and La Vie Heureuse created a female role model who could balance age-old convention with new equalities. Often referred to simply as the “modern woman,” this captivating figure embodied the hopes and dreams as well as the most pressing internal conflicts of large numbers of French women during what was a period of profound change. Full of never-before-studied images of the modern French woman in action, Having It All shows how these early magazines exploited new photographic technologies, artistic currents, and literary trends to create a powerful model of French femininity, one that has exerted a lasting influence on French expression. This book introduces and explores the concept of Belle Epoque literary feminism, a product of the elite milieu from which the magazines emerged. Defined by its refusal of political engagement, this feminism was nevertheless preoccupied with expanding women’s roles, as it worked to construct a collective fantasy of female achievement. Through an astute blend of historical research, literary criticism, and visual analysis, Mesch’s study of women’s magazines and the popular writers associated with them offers an original window onto a bygone era that can serve as a framework for ongoing debates about feminism, femininity, and work-life tensions
The incursions of women into areas from which they had been traditionally excluded, together with the literary representations of their attempts to negotiate, subvert and appropriate these forbidden spaces, is the underlying theme that unites this collection of essays. Here scholars from Australia, Greece, Great Britain, Spain, Switzerland and the United States reconsider the well-entrenched assumptions associated with the public/private distinction, working with the notions of public and private spheres while testing their currency and exploring their blurred edges. The essays cover and uncover a rich variety of spaces, from the slums and court-rooms of London to the American wilderness, from the Victorian drawing-room and sick-room to out of the ordinary places like Turkish baths and the trenches of the First World War. Where previous studies have tended to focus on a single aspect of women's engagement with space, this edited book reveals a plethora of subtle and tenacious strategies found in a variety of discourses that include fiction, poetry, diaries, letters, essays and journalism. Inside Out goes beyond the early work on artistic explorations of gendered space to explore the breadth of the field and its theoretical implications.
He claimed to be “the plainest kind of fellow you can find. There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work. Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”
