Spanning the period between the end of the Russo-Caucasian War and the death of the first female Chechen suicide bomber, this groundbreaking book is the first to compare Georgian, Chechen, and Daghestani depictions of anticolonial insurgency. Rebecca Gould draws from previously untapped archival sources as well as from prose, poetry, and oral narratives to assess the impact of Tsarist and Soviet rule in the Islamic Caucasus. Examining literary representations of social banditry to tell the story of Russian colonialism from the vantage point of its subjects, among numerous other themes, Gould argues that the literatures of anticolonial insurgency constitute a veritable resistance—or “transgressive sanctity”—to colonialism.
"The next best young adult novel."—Huffington Post Mariam Just Wants to Fit In. That's not easy when she's the only Egyptian at her high school and her parents are super traditional. So when she sneaks into a party that gets busted, Mariam knows she's in trouble...big trouble. Convinced she needs more discipline and to reconnect with her roots, Mariam's parents send her to Cairo to stay with her grandmother, her sittu. But Marian's strict sittu and the country of her heritage are nothing like she imagined, challenging everything Mariam once believed. As Mariam searches for the courage to be true to herself, a teen named Asmaa calls on the people of Egypt to protest their president. The country is on the brink of revolution—and now, in her own way, so is Mariam.
A NEW YORKER ESSENTIAL READ • From the best-selling author of The Invention of Nature comes an exhilarating story about a remarkable group of young rebels—poets, novelists, philosophers—who, through their epic quarrels, passionate love stories, heartbreaking grief, and radical ideas launched Romanticism onto the world stage, inspiring some of the greatest thinkers of the time. A BEST BOOK OF THE YEAR: The New York Times • The Washington Post "Make[s] the reader feel as if they were in the room with the great personalities of the age, bearing witness to their insights and their vanities and rages.” —Lauren Groff, New York Times best-selling author of Matrix When did we begin to be as self-centered as we are today? At what point did we expect to have the right to determine our own lives? When did we first ask the question, How can I be free? It all began in a quiet university town in Germany in the 1790s, when a group of playwrights, poets, and writers put the self at center stage in their thinking, their writing, and their lives. This brilliant circle included the famous poets Goethe, Schiller, and Novalis; the visionary philosophers Fichte, Schelling, and Hegel; the contentious Schlegel brothers; and, in a wonderful cameo, Alexander von Humboldt. And at the heart of this group was the formidable Caroline Schlegel, who sparked their dazzling conversations about the self, nature, identity, and freedom. The French revolutionaries may have changed the political landscape of Europe, but the young Romantics incited a revolution of the mind that transformed our world forever. We are still empowered by their daring leap into the self, and by their radical notions of the creative potential of the individual, the highest aspirations of art and science, the unity of nature, and the true meaning of freedom. We also still walk the same tightrope between meaningful self-fulfillment and destructive narcissism, between the rights of the individual and our responsibilities toward our community and future generations. At the heart of this inspiring book is the extremely modern tension between the dangers of selfishness and the thrilling possibilities of free will.
The world still needs heroes. Are you with us? Enter the next original YA novel for Overwatch, the worldwide gaming sensation from Blizzard Entertainment! In the years after the Omnic Crisis, the American Southwest is ruled by vultures looking to profit off the chaos. The West is ripe for the taking, and Elizabeth Caledonia Ashe intends to write her name across it. When Ashe is arrested yet again on the morning of her high school graduation, her aloof, old-money parents decide to disinherit her from the family fortune. To steal back what's rightfully hers, Ashe teams up with her omnic butler, B.O.B., and local ruffian Jesse McCree for a series of heists, catapulting the trio into a game of fast money and dangerous alliances. Along the way, Ashe discovers that family isn't just about blood. It's about the people who've got your back when your back's against the wall. Full of high-octane chases and action-packed stand-offs, the second novel for Overwatch explores the founding of the Deadlock Gang and the origins of fan-favorite heroes Ashe and McCree. Don't miss this incredible, original story straight from the Overwatch game team and critically acclaimed author Lyndsay Ely
Creators include; Scott McCloud, Larry Marder, Richard Corben, Jack Jackson, Lee Mars, Howard Cruse, Denis Kitchen, Kevin Eastman & Peter Laird, Dave Sim, Harvey Pekar & Joyce Brabner, Alan Moore, Jean "Moebius" Giraud, Addie Campbell, Neil Gaiman, Dave McKean, Frank Miller, Colleen Doran, Rick Veitch, Todd McFarlane, Will Eisner. Also included is McCloud's bill of rights for comic creators.
“A compelling, blood-soaked portrait of a young Tutsi rebel who rose to become one of the leading generals in the Congolese Army.” —Details Lieve Joris has long been considered “one of the best journalists in the world” and in The Rebels’ Hour she illuminates the dark heart of contemporary Congo through the prism of one lonely, complicated man—a rebel leader named Assani who becomes a high-ranking general in the Congolese army. As we navigate the chaos of his lawless country alongside him, the pathologically evasive Assani stands out in relief as a man who is both monstrous and sympathetic, perpetrator and victim (Libération, France). “Lieve Joris is of the caliber of Naipaul or Ryszard Kapuscinski, 50% traveler, 50% journalist, 100% writer.” —Elle (France)
How many times have you heard that creative writing programmes are factories that produce the same kind of writers, isolated from real life? Only by escaping academia can writers be completely free. Universities are profoundly conservative places, designed to favour a certain way of writing-preferably informed by literary theory. Those who reject the creative/ critical discourse of academia are the true rebels, condemned to live (or survive) in a tough literary marketplace. Conformity is on the side of academia, the story goes, and rebellion is on the other side. This book argues against the notion that creative writing programmes are driven by conformity. Instead, it shows that these programmes in the United States and Britain were founded and developed by literary outsiders, who left an enduring mark on their discipline. To this day, creative writing occupies a marginal position in Anglo-American universities. The multiplication of new programmes, accompanied by rising student enrolments, has done nothing to change that positioning. As a discipline, creative writing strives on opposition to the mainstream university, while benefiting from what the university has to offer. Historically, this opposition to scholars was so virulent that it often led to the separation of creative writing and literature departments. The Iowa Writers' Workshop, founded in the 1930s, separated from the English department three decades later--and it still occupies a different building on campus, with little communication between writers and scholars. This model of institutional division is less common in Britain, where the discipline formally emerged in the late 1960s and early 1970s. But even when creative writing is located within literature departments, relationships with scholars remain uneasy. Creative writers and scholars are not, and have never been, natural bedfellows.
Queer Rebels is a study of gay narrative writings published in Spain at the turn of the 20th century. The book scrutinises the ways in which the literary production of contemporary Spanish gay authors – José Luis de Juan, Luis G. Martín, Juan Gil-Albert, Juan Goytisolo, Eduardo Mendicutti, Luis Antonio de Villena and Álvaro Pombo – engages with homophobic and homophile discourses, as well as with the vernacular and international literary legacy. The first part revolves around the metaphor of a rebellious scribe who queers literary tradition by clandestinely weaving changes into copies of the books he makes. This subversive writing act, named ‘Mazuf’s gesture’ after the protagonist of José Luis de Juan’s This Breathing World (1999), is examined in four highly intertextual works by other writers. The second part of the book explores Luis Antonio de Villena and Álvaro Pombo, who in their different ways seek to coin their own definitions of homosexual experience in opposition both to the homophobic discourses of the past and to the homonormative regimes of the commercialised and trivialised gay culture of today. In their novels, ‘Mazuf’s gesture’ involves playing a sophisticated queer game with readers and their expectations.
