Within the Euro-American literary tradition, Gothic stories of childhood and adolescence have often served as a tool for cultural propaganda, advancing colonialist, white supremacist and patriarchal ideologies. This book turns our attention to modern and contemporary Gothic texts by hemispheric American writers who have refigured uncanny youth in ways that invert these cultural scripts. In the hands of authors ranging from Octavio Paz and Maryse Condé to N. Scott Momaday and Carmen Maria Machado, Gothic conventions become a means of critiquing pathological structures of power in the space of the Americas. As fictional children and adolescents confront persisting colonial and neo-imperialist architectures, grapple with the everyday ramifications of white supremacist thinking, navigate rigged systems of socioeconomic power, and attempt to frustrate patterns of gendered, anti-queer violence, the uncanny and the nightmarish in their lives force readers to reckon affectively as well as intellectually with these intersecting forms of injustice.
This book illustrates how global horror film images of children re-conceptualised childhood at the beginning of the twenty-first century, unravelling the child's long entrenched binding to ideologies of growth, futurity, and progress. The Uncanny Child in Transnational Cinema analyses an influential body of horror films featuring subversive depictions of children that emerged at the beginning of the twenty-first century, and considers the cultural conditions surrounding their emergence. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in potent cinematic renegotiations of the concept of childhood. In these transnational films-largely stemming from Spain, Japan, and America-the child resists embodying growth and futurity, concepts to which the child's symbolic function is typically bound. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.
A poetic debut novel, formally experimental, by turns hallucinatory, darkly funny and brutally real. Nochita is tender, fierce, and unforgettable. Daughter to a divorced new age guru, Nochita wanders through the cracks of California's counter-culture, half feral child, half absurdist prophet. When tragedy strikes she is sent to live with her father, a working-class cowboy with a fragile grasp on sobriety and a dangerously mean fiancée. Stuck with adults chillingly unable to care for her, Nochita takes to the streets, a runaway with nothing to run from, driven forward by desperation, hope, and an irrepressible wonder. Nochita is a poetic novel dazzling in its detail, stylistically daring, by turns hallucinatory, darkly funny, and brutally real. At its heart is the singular voice of Nochita, tender and fierce, alone and alive and utterly unforgettable. Praise for Nochita: "Nochita shimmers with humor and delight, she burns with stark raving intelligence."—Mary Gaitskill "In Nochita, Dia Felix builds an extraordinarily rich and inventive language to carry the kaleidoscopic point of view of her young protagonist. What a pleasure to open a book and find such exuberant and committed artistry. A stunning debut."—Janet Fitch "There is a way some writers say hello on the first page that gets me excited to be in their conversation. Nochita has it with teeth!! I love this book and the weird strong eye it has on the world, melting clothes off bodies with a crème brulée torch. Nochita is quite the dance to read through, kind of like shaking a bad morning off and realizing you really love this world. Makes me smile, like Dia Felix writes, 'I think I can latch on to this machine now.' BUY THIS BOOK, don’t just stand there reading my fucking blurb!!"— CAConrad "In the vein of extra-sensitive displaced daughters à la White Oleander, with the crystallized hyper-perception at the center of The Bluest Eye, Nochita is singular, resonant—her pictures get under your skin and stay there; more than lines embedded, here are things you've seen before, numbed and fallen away with the process of becoming adult. Against writers who make a phalanx of accuracy and precision, Felix delivers synesthetic gut-sense in a visual pile-on that picks up and turns over your sense of being human, dirt and M&Ms and kundalini shakti, written by a gifted seer whose inner child is alive and screaming … Nochita brings it down to the roots."—Mila Jaroniec
Uncanny! I stared at Dad's eyes through the gas mask and remembered our handshake. A deal is a deal. With pounding heart, I walked into the soggy, wet mouth of the dead whale. It's uncanny . . . turning into a dung beetle, catching someone else's tattoos, being in bed with a ghost who tickles, seeing a flying dog.
For over a century British authors have been writing about the Antarctic for child readers, yet this body of literature has never been explored in detail. Antarctica in British Children’s Literature examines this field for the first time, identifying the dominant genres and recurrent themes and tropes while interrogating how this landscape has been constructed as a wilderness within British literature for children. The text is divided into two sections. Part I focuses on the stories of early-twentieth-century explorers such as Robert F. Scott and Ernest Shackleton. Antarctica in British Children’s Literature highlights the impact of children’s literature on the expedition writings of Robert Scott, including the influence of Scott’s close friend, author J.M. Barrie. The text also reveals the important role of children’s literature in the contemporary resurgence of interest in Scott’s long-term rival Ernest Shackleton. Part II focuses on fictional narratives set in the Antarctic, including early-twentieth-century whaling literature, adventure and fantasy texts, contemporary animal stories and environmental texts for children. Together these two sections provide an insight into how depictions of this unique continent have changed over the past century, reflecting transformations in attitudes towards wilderness and wild landscapes.
This story is based on the life of author Yuri Feynberg, who is one of the last surviving children of the Soviet Penal System, known to the world as the GULAG. Although not a prisoner, Yuri spent his childhood behind the barbed wired fence in a remote Siberian hard labor camp, where his mother worked as a medical doctor. As the only child there, he lived among Stalin's political prisoners, hardcore criminals, and security guards. This extraordinary childhood created an unusual personality and an unbendable character, which made it possible for Yuri to excel in the Soviet Special Forces, survive prosecution, and overcome unfathomable personal tragedies without losing his humanity.
In this study of representations of children and childhood, a global team of authors explores the theme of undeadness as it applies to cultural constructions of the child. Moving beyond conventional depictions of the undead in popular culture as living dead monsters of horror and mad science that transgress the borders between life and death, rejuvenation, and decay, the authors present undeadness as a broader concept that explores how people, objects, customs, and ideas deemed lost or consigned to the past might endure in the present. The chapters examine nostalgic texts that explore past incarnations of childhood, mementos of childhood, zombie children, spectral children, images and artefacts of deceased children, as well as states of arrested development and the inability or refusal to embrace adulthood. Expanding undeadness beyond the realm of horror and extending its meaning conceptually, while acknowledging its roots in the genre, the book explores attempts at countering the transitory nature of childhoods. This unique and insightful volume will interest scholars and students working on popular culture and cultural studies, media studies, film and television studies, childhood studies, gender studies, and philosophy.
Working with Challenging Youth, Second Edition is a practical, reader-friendly guide through the pitfalls and problems that arise when working with at-risk youth. As in the first edition, the new Working with Challenging Youth builds on a solid theoretical base in reality therapy, cognitive-behavioral therapy, solution-focused therapy, systems theory, and humanistic philosophy to answer the question "What distinguishes the really effective professionals from the rest?" This second edition includes new sections on specialized, evidence-based approaches such as dialectical behavior therapy, mindfulness, collaborative problem-solving, motivational interviewing, and multisystemic therapy. This book also offers 7 guiding principles and 50 specific lessons to help bridge the gap between helping professionals and youth.
Ghost stories have played a prominent role in childhood. Circulated around playgrounds and whispered in slumber parties, their history in American literature is little known and seldom discussed by scholars. This book explores the fascinating origins and development of these tales, focusing on the social and historical factors that shaped them and gave birth to the genre. Ghost stories have existed for centuries but have been published specifically for children for only about 200 years. Early on, supernatural ghost stories were rare--authors and publishers, fearing they might adversely affect young minds, presented stories in which the ghost was always revealed as a fraud. These tales dominated children's publishing in the 19th century but the 20th century saw a change in perspective and the supernatural ghost story flourished.
