This highly original book reconsiders canonical long eighteenth-century narratives through the conjoined lenses of queer studies and the environmental humanities. Moving from Daniel Defoe’s Robinson Crusoe and Jonathan Swift’s Gulliver’s Travels to Gothic novels including Mary Shelley’s Frankenstein, Jeremy Chow investigates the role that bodies of water play in reading these central texts. Chow navigates various representations and phases of water to magnify the element’s furtive yet pronounced effects on narrative, theory, and identity. Water, Chow reveals, is both a participant and a stage upon which bodily violation manifests. The sea, rivers, pools, streams, and glaciers all participate in a violent decolonialism that fractures, revises, and reshapes notions of colonial masculinity emerging throughout the long eighteenth century. Through an innovative series of intermezzi, The Queerness of Water also traces the afterlives of eighteenth-century literature in late twentienth- and twenty-first-century film, television, and other popular media, opening up conversations regarding canon, literary criticism, pedagogy, and climate change.
A NEW YORK TIMES EDITOR'S CHOICE · A NEW YORK TIMES BOOK REVIEW NOTABLE BOOK · REVIEWED ON THE FRONT COVER From GMA BOOK CLUB PICK and WOMEN'S PRIZE FINALIST Angie Cruz, author of Dominicana, an electrifying new novel about a woman who has lost everything but the chance to finally tell her story “Will have you LAUGHING line after line...Cruz AIMS FOR THE HEART, and fires.” —Los Angeles Times "An endearing portrait of a FIERCE, FUNNY woman." —The Washington Post Cara Romero thought she would work at the factory of little lamps for the rest of her life. But when, in her mid-50s, she loses her job in the Great Recession, she is forced back into the job market for the first time in decades. Set up with a job counselor, Cara instead begins to narrate the story of her life. Over the course of twelve sessions, Cara recounts her tempestuous love affairs, her alternately biting and loving relationships with her neighbor Lulu and her sister Angela, her struggles with debt, gentrification and loss, and, eventually, what really happened between her and her estranged son, Fernando. As Cara confronts her darkest secrets and regrets, we see a woman buffeted by life but still full of fight. Structurally inventive and emotionally kaleidoscopic, How Not to Drown in a Glass of Water is Angie Cruz’s most ambitious and moving novel yet, and Cara is a heroine for the ages.
AN INSTANT NEW YORK TIMES BESTSELLER / AN OPRAH'S BOOK CLUB PICK ONE OF PRESIDENT OBAMA'S FAVORITE BOOKS OF 2021 Winner of the Ernest J. Gaines Award for Literary Excellence Longlisted for the Man Booker Prize Longlisted for the 2022 Carnegie Medal for Excellence Longlisted for the Center for Fiction First Novel Prize In the spirit of The Known World and The Underground Railroad, "a miraculous debut" (Washington Post) and "a towering achievement of imagination" (CBS This Morning)about the unlikely bond between two freedmen who are brothers and the Georgia farmer whose alliance will alter their lives, and his, forever--from "a storyteller with bountiful insight and assurance" (Kirkus) A Best Book of the Year: Oprah Daily, NPR, Washington Post, Time, Boston Globe, Smithsonian, Chicago Public Library, BookBrowse, and the Oregonian A New York Times Book Review Editors' Choice A July Indie Next Pick In the waning days of the Civil War, brothers Prentiss and Landry--freed by the Emancipation Proclamation--seek refuge on the homestead of George Walker and his wife, Isabelle. The Walkers, wracked by the loss of their only son to the war, hire the brothers to work their farm, hoping through an unexpected friendship to stanch their grief. Prentiss and Landry, meanwhile, plan to save money for the journey north and a chance to reunite with their mother, who was sold away when they were boys. Parallel to their story runs a forbidden romance between two Confederate soldiers. The young men, recently returned from the war to the town of Old Ox, hold their trysts in the woods. But when their secret is discovered, the resulting chaos, including a murder, unleashes convulsive repercussions on the entire community. In the aftermath of so much turmoil, it is Isabelle who emerges as an unlikely leader, proffering a healing vision for the land and for the newly free citizens of Old Ox. With candor and sympathy, debut novelist Nathan Harris creates an unforgettable cast of characters, depicting Georgia in the violent crucible of Reconstruction. Equal parts beauty and terror, as gripping as it is moving, The Sweetness of Water is an epic whose grandeur locates humanity and love amid the most harrowing circumstances.
Hannah works as the only female river-rafting guide in her closed-minded small town. Labeled a tomboy, she often struggles to reconcile the way she fits into normal gender stereotypes. Hannah meets Ezra, who blurs the lines between woman and man. They begin an exciting new relationship, but soon Ezra starts pushing Hannah's limits and her definition of love.
Rivers, swimming pools, lakes, and oceans: these watery spaces recur with remarkable frequency in recent queer Latin American cinema, urging us to question the intimacies between queerness and the aquatic. Unpredictable and uncontrollable, water reflects a natural fluidity in our sexual desires and orientations; it is both a space and a substance, one in which bodies surrender themselves to the natural forces of currents and flows. As the first book to investigate water's queer cinematic potential, Bodies of Water proposes that we think not only about water but also through it, illuminating new directions for the study of queer world cinema and its evolving aesthetic strategies. Bodies of Water engages critically with theories of cinematic embodiment and recent work in queer theory and the environmental humanities, foregrounding a region of the world historically overlooked in global discussions of queerness. By examining the radical queer epistemologies that emerge at the convergence of body, camera, and water, Bodies of Water ultimately poses a question of both critical and sociopolitical concern: what's so queer about cinematic waters?
NATIONAL BESTSELLER “A delectable brew of gothic horror and Hollywood satire . . . [and] what makes all this so much fun is Danforth’s deliciously ghoulish voice . . . exquisite." —Ron Charles, THE WASHINGTON POST "A multi-faceted novel, equal parts gothic, sharply funny, sapphic romance, historical, and, of course, spooky.” —ENTERTAINMENT WEEKLY Named a Most Anticipated Book by Entertainment Weekly • Washington Post • USA Today • Time • O, The Oprah Magazine • Buzzfeed • Harper's Bazaar • Vulture • Parade • HuffPost • Refinery29 • Popsugar • E! News • Bustle • The Millions • GoodReads • Autostraddle • Lambda Literary • Literary Hub • and more! The award-winning author of The Miseducation of Cameron Post makes her adult debut with this highly imaginative and original horror-comedy centered around a cursed New England boarding school for girls—a wickedly whimsical celebration of the art of storytelling, sapphic love, and the rebellious female spirit Our story begins in 1902, at the Brookhants School for Girls. Flo and Clara, two impressionable students, are obsessed with each other and with a daring young writer named Mary MacLane, the author of a scandalous bestselling memoir. To show their devotion to Mary, the girls establish their own private club and call it the Plain Bad Heroine Society. They meet in secret in a nearby apple orchard, the setting of their wildest happiness and, ultimately, of their macabre deaths. This is where their bodies are later discovered with a copy of Mary’s book splayed beside them, the victims of a swarm of stinging, angry yellow jackets. Less than five years later, the Brookhants School for Girls closes its doors forever—but not before three more people mysteriously die on the property, each in a most troubling way. Over a century later, the now abandoned and crumbling Brookhants is back in the news when wunderkind writer Merritt Emmons publishes a breakout book celebrating the queer, feminist history surrounding the “haunted and cursed” Gilded Age institution. Her bestselling book inspires a controversial horror film adaptation starring celebrity actor and lesbian it girl Harper Harper playing the ill-fated heroine Flo, opposite B-list actress and former child star Audrey Wells as Clara. But as Brookhants opens its gates once again, and our three modern heroines arrive on set to begin filming, past and present become grimly entangled—or perhaps just grimly exploited—and soon it’s impossible to tell where the curse leaves off and Hollywood begins. A story within a story within a story and featuring black-and-white period-inspired illustrations, Plain Bad Heroines is a devilishly haunting, modern masterwork of metafiction that manages to combine the ghostly sensibility of Sarah Waters with the dark imagination of Marisha Pessl and the sharp humor and incisive social commentary of Curtis Sittenfeld into one laugh-out-loud funny, spellbinding, and wonderfully luxuriant read. “Full of Victorian sapphic romance, metafictional horror, biting misandrist humor, Hollywood intrigue, and multiple timeliness—all replete with evocative illustrations that are icing on a deviously delicious cake.” –O, THE OPRAH MAGAZINE
This is the second of a two volume set. The first volume is Grabbing Tea: Queer Conversations on Identity and Libraries (Volume One). Number 15 in the Litwin Books Series on Gender and Sexuality in Information Studies, Emily Drabinski, series editor. Grabbing Tea: Queer Conversations on Archives and Practice (Volume Two) centers queerness in archives and archival theory and practice. Scholars and practitioners share their conversations on the Archive as a site for reclamation, narrative storytelling, ancestral recalling, and historical revisioning within LGBTQ+ communities. These conversations integrate interpersonal experiences of professionalism, dive into our collections, and engage with the implications of race and sexuality in archival practice. Authors invite readers to join their conversations that consider the fluidity of our bodies as queer bodies, and our lives as queer lives inside of the archive.
Lee Mandelo's debut Summer Sons is a sweltering, queer Southern Gothic that crosses Appalachian street racing with academic intrigue, all haunted by a hungry ghost. Andrew and Eddie did everything together, best friends bonded more deeply than brothers, until Eddie left Andrew behind to start his graduate program at Vanderbilt. Six months later, only days before Andrew was to join him in Nashville, Eddie dies of an apparent suicide. He leaves Andrew a horrible inheritance: a roommate he doesn’t know, friends he never asked for, and a gruesome phantom that hungers for him. As Andrew searches for the truth of Eddie’s death, he uncovers the lies and secrets left behind by the person he trusted most, discovering a family history soaked in blood and death. Whirling between the backstabbing academic world where Eddie spent his days and the circle of hot boys, fast cars, and hard drugs that ruled Eddie’s nights, the walls Andrew has built against the world begin to crumble. And there is something awful lurking, waiting for those walls to fall. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
When James Morrow, a social worker, first meets Kevin Flynn, he suspects the teen is being abused. To learn more about Kevin’s home life, he gets to know the boy’s father, Tucker, who’s a lobsterman. James is able to put his suspicions to rest, and the two families begin to form a friendship. When a kid at the local recreation center dies of an overdose, Detective Maya Morrow adds the case to the long list related to the drug problem plaguing the small New Hampshire coastal town of Newborough. But her investigation gets her much too close to the dangerous players. Both the Morrows and the Flynns are holding dark secrets, and when their lives collide, tragedy is inevitable.
