'One of the most singular, moving and crucial voices of our times' David PeaceIn Male Tears, a debut collection of stories that brings together over fifteen years of work, Benjamin Myers lays bare the male psyche in all its fragility, complexity and failure, its hubris and forbidden tenderness. Farmers, fairground workers and wandering pilgrims, gruesome gamekeepers, bare-knuckle boxers and ex-cons with secret passions, the men that populate these unsettling, wild and wistful stories form a multi-faceted, era-spanning portrait of just what it means to be a man.
In this unique poetry anthology, 100 grown men - bestselling authors, poets laureate, actors, producers and other prominent figures from the arts, sciences and politics, share the poems that have moved them to tears.
This bestselling "lyrical, moving book: part essay, part memoir, part surprising cultural study" is an examination of why we cry, how we cry, and what it means to cry from a woman on the cusp of motherhood confronting her own depression (The New York Times Book Review). Heather Christle has just lost a dear friend to suicide and now must reckon with her own depression and the birth of her first child. As she faces her grief and impending parenthood, she decides to research the act of crying: what it is and why people do it, even if they rarely talk about it. Along the way, she discovers an artist who designed a frozen–tear–shooting gun and a moth that feeds on the tears of other animals. She researches tear–collecting devices (lachrymatories) and explores the role white women’s tears play in racist violence. Honest, intelligent, rapturous, and surprising, Christle’s investigations look through a mosaic of science, history, and her own lived experience to find new ways of understanding life, loss, and mental illness. The Crying Book is a deeply personal tribute to the fascinating strangeness of tears and the unexpected resilience of joy.
We take for granted the idea that white, middle-class, straight masculinity connotes total control of emotions, emotional inexpressivity, and emotional isolation. That men repress their feelings as they seek their fortunes in the competitive worlds of business and politics seems to be a given. This collection of essays by prominent literary and cultural critics rethinks such commonly held views by addressing the history and politics of emotion in prevailing narratives about masculinity. How did the story of the emotionally stifled U.S. male come into being? What are its political stakes? Will the "release" of straight, white, middle-class masculine emotion remake existing forms of power or reinforce them? This collection forcefully challenges our most entrenched ideas about male emotion. Through readings of works by Thoreau, Lowell, and W. E. B. Du Bois, and of twentieth century authors such as Hemingway and Kerouac, this book questions the persistence of the emotionally alienated male in narratives of white middle-class masculinity and addresses the political and social implications of male emotional release.
Crying Men is a series of photographic portraits of famous film actors. Taylor-Johnson makes portraits of her subjects as actors; she shoots them in role, asking each to perform and cry for the camera and demands the actor's investment in the process. These are no passive sitters. Each of the resulting images is distinct; one actor recalls the hieratic clarity of a Byzantine saint whose tears appear decorative. Other images are of heroic crying where stoic restraint has broken down, there are some that display the voluptuous crying of medieval saints, there are images of cathartic crying, quiet tears of regret and grief, and yet whilst being moved by these intimate revelatory images we simultaneously know that the emotional display is being playacted. Sam Taylor-Johnson's film and photographic works are distinguished by their subversive creation of enigmatic situations full of latent but explosive energy. The portraits include Tim Roth, Gabriel Byrne, Laurence Fishburne, Woody Harrelson, Michael Gambon, Jude Law, Hayden Christiansen, Ryan Gosling, Robert Downey Jr., Paul Newman, Ed Harris, Benicio Del Toro, Willem Dafoe, and Kris Kristofferson.
This book presents an account of masculinity in eighteenth century Britain. In particular it is concerned with the impact of an emergent polite society on notions of manliness and the gentleman. From the 1660s a new type of social behaviour, politeness, was promoted by diverse writers. Based on continental ideas of refinement, it stressed the merits of genuine and generous sociability as befitted a progressive and tolerant nation. Early eighteenth century writers encouraged men to acquire the characteristics of politeness by becoming urbane town gentlemen. Later commentators promoted an alternative culture of sensibility typified by the man of feeling. Central to both was the need to spend more time with women, now seen as key agents of refinement. The relationship demanded a reworking of what it meant to be manly. Being manly and polite was a difficult balancing act. Refined manliness presented new problems for eighteenth century men. What was the relationship between politeness and duplicity? Were feminine actions such as tears and physical delicacy acceptable or not? Critics believed polite society led to effeminacy, not manliness, and condemned this failure of male identity with reference to the fop. This book reveals the significance of social over sexual conduct for eighteenth century definitions of masculinity. It shows how features traditionally associated with nineteenth century models were well established in the earlier figure of the polite town-dweller or sentimental man of feeling. Using personal stories and diverse public statements drawn from conduct books, magazines, sermons and novels, this is a vivid account of the changing status of men and masculinity as Britain moved into the modern period.
This provocative and indispensable book provides a natural and cultural history of our most mysterious and complex human function: our ability to shed tears. All humans, and only humans, weep. Tears are sometimes considered pleasurable, sometimes dangerous, mysterious, deceptive, or profound. Tears of happiness, tears of joy, the proud tears of a parent, tears of mourning, tears of laughter, tears of defeat --what do they have in common? Why is it that at times of victory, success, love, reunion, and celebration the outward signs of our emotions are identical to those of our most profound experiences of loss? Why We Cry looks at the many different ways people have understood weeping, from the earliest known representation of tears in the fourteenth century B.C. through the latest neurophysiological research. Despite our most common romantic assumptions, what this brilliant book tells us is that tears are never pure, they are never simple.
In a culture that tells men to suppress instead of express, join bestselling author, speaker, and leader Jason Wilson (featured in the award-winning ESPN documentary The Cave of Adullam) as he calls us to unlearn society's definition of masculinity and discover the power of engaging with our emotions. For decades, Jason was losing the war within--the internal battle that many men wage on a daily basis. He struggled to combat his toxic thoughts and emotions, communicating without composure, and ultimately hurting himself and his loved ones. When Jason began to release years of unresolved trauma, he learned how to acknowledge his emotions and express them in a healthy way. He discovered that he was strengthened by transparency and vulnerability, which taught him to forgive, trust, and love without limitations. Soon, Jason's newfound practices began to heal his relationships and transform his life. Throughout his journey of opening up, Jason became a better husband, father, and leader--and you can, too. Supported by Biblical teachings, the lessons that Jason shares in Battle Cry teach us that we can all be empowered to break through what we've been through. Jason calls us to become better versions of ourselves, equipping us with the mental and spiritual weapons needed to redefine modern masculinity and showing us how to: embrace our emotions rather than be ruled by them win internal battles before they become external wars break free from misconstrued masculinity and embrace our humanity communicate more effectively with the people in our lives heal trauma from our past in order to live our fullest lives in the present Battle Cry proves that it's possible to live beyond the limitations of your mind and finally experience the full life you've always longed for. What are you waiting for? It's time to win the war within.
"Fast, slick and acerbically funny: buckle up and enjoy the ride." Guardian The setting: Montevideo’s Old Town, with its dark alleys, crumbling facades and watchful residents. The gig: an armoured truck robbery. The cast: Diego, a failed kidnapper with weak nerves, Ursula Lopez, an amateur criminal with an insatiable appetite, El Roto, the broken one, a notorious hoodlum with excessive self-confidence. Dr Antinucci, a shady lawyer with big plans. And finally, Leonilda Lima, a washed-out police inspector with a glimmer of faith in justice.
Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art. Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater. Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.
