NAMED A BEST BOOK of the YEAR by O, THE OPRAH MAGAZINE, REFINERY 29, and KIRKUS REVIEWS SHORTLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE The “wondrous” (O, The Oprah Magazine), “scathingly funny” (Entertainment Weekly) debut from Whiting Award winner and author of Big Swiss Jen Beagin about a cleaning lady named Mona and her quest for self-acceptance. Jen Beagin’s funny, moving, fearless debut novel introduces an unforgettable character, Mona—almost twenty-four, emotionally adrift, and cleaning houses to get by. She falls for a man she calls Mr. Disgusting, who proceeds to break her heart in unimaginable ways. In search of healing, she decamps to Taos, New Mexico, for a fresh start, where she finds a community of cast-offs, all of whom have something to teach her—the pajama-wearing, blissed-out New Agers, the slightly creepy client with peculiar tastes in controlled substances, the psychic who might really be psychic. But always lurking just beneath the surface are her memories of growing up in a chaotic, destructive family from which she’s trying to disentangle herself, and the larger legacy of the past. The story of Mona’s quest for belonging in this world is at once hilarious and wonderfully strange, true to life and boldly human, and introduces a stunning, one-of-a-kind new voice in American fiction.
White Witch in a Black Robe is a memoir about how secret high-level mind control is performed throughout victims' lives and the ways heads of governments and religious organizations participate in this, as well as the healing process and how the mind becomes whole again.The memoir begins with the author's childhood in a multi-generational cult family, her ordinary life in the normal world and her simultaneous secret tortuous world. She describes her world travels as a satanic cult queen and prophet, encountering well-known and influential people. The final section portrays the process of weaving the pieces of her mind back together with the help of a therapist, and adjusting to life with a whole mind.This is an important book for survivors of mind control and ritual abuse, their therapists, and the general public, revealing one of the world's best-kept and grimmest secrets. As the author says in her introduction, 'This book is not for the delicate or for those who are convinced the world is fine just the way it is.'
One of Britain's greatest living contemporary dramatists, Edward Bond is widely studied by schools and colleges. The collection includes a commentary by the author. The Bundle - "A complex and marvellously written play" (The Times); Jackets - "An astonishingly powerful piece of political, polemic poetry" (Guardian); Human Cannon charts the struggle against Fascism in Spain through the stories of the village community of Estarobon; In the Company of Men, a vivid and coruscating attack on the values encapsulated by boardroom power games, was described by the RSC as "a vast meditation on the twenty-first century."Edward Bond "is one of the two or three major playwrights - and arguably the only one - to emerge since the fifties" (Observer)
The thirty-four stories included within this volume do not illustrate the bloody, revengeful or licentious elements, with which Japanese popular, and juvenile literature is saturated. These have been carefully avoided. It is also rather with a view to the artistic, than to the literary, products of the imagination of Japan, that the selection has been made. From my first acquaintance, twelve years ago, with Japanese youth, I became an eager listener to their folk lore and fireside stories. When later, during a residence of nearly four years among the people, my eyes were opened to behold the wondrous fertility of invention, the wealth of literary, historic and classic allusion, of pun, myth and riddle, of heroic, wonder, and legendary lore in Japanese art, I at once set myself to find the source of the ideas expressed in bronze and porcelain, on lacquered cabinets, fans, and even crape paper napkins and tidies.
Want to start a revolution but have no idea where to begin? Don't you wish there was a guidebook for the aspiring revolutionary? THIS IS THAT BOOK. This revolutionary guidebook will answer every question you've ever had about revolutions, including: Is it OK for revolutionaries to wear white after Labor Day? Is being a revolutionary tax deductible? Which was more dangerous: the French Revolution or the Dance Dance Revolution? All these questions - AND MORE - will be answered in this revolutionary guidebook!
From Subjection to Survival is a work of feminist scholarship that works at the intersection of literature and art history, the written and the visual. By examining six important and diverse multiethnic American women writers of the twentieth century (Kate Chopin, Anzia Yezierska, Edith Wharton, Zitkala-Ša, Nella Larsen, and Helena María Viramontes), From Subjection to Survival establishes a genealogy of how women writers claim the power and possibility of visual art to make sense of their experiences. These writers write about women and feature female protagonists who engage with art as painters, writers, muses, or icons in the texts themselves. The texts are written visually to expose the fundamental substantiation of gender in art and the unavoidable aestheticization of women in daily life. As every text in this book makes clear, women can claim substantial power through art. Yet, aestheticization is not always positive. As a consequence of such negative possibilities, the artistic self-referentiality of all of the texts in From Subjection to Survival exposes a negotiated course between subjectivity and objectness which women experience when engaging with art. From Subjection to Survival studies this negotiated course to lay bare the difficult path of women’s artistic and aesthetic experience, but ultimately to claim the power and the possibility of the visual arts for women.
When half-human Cal Leandros wakes up on a beach littered with the slaughtered remains if a variety of hideous creatures, he's not that concerned. In fact, he can't remember anything-including who he is. And that's just the way his deadly enemies like it...