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The Retro-Futurism of Cuteness
Is it possible to conceive of a Hello Kitty Middle Ages or a Tickle Me Elmo Renaissance? The Oxford English Dictionary dates the first reference to "cute" in the sense of "attractive, pretty, charming" to 1834. More recently, Sianne Ngai has offered a critical overview of the cuteness of the twentieth-century avant-garde within the context of consumer culture. But if cuteness can get under the skin, what kinds of surfaces does it best infiltrate, particularly in the framework of historical forms, events, and objects that traditionally have been read as emergences around "big" aesthetics of formal symmetries, high affects, and resemblances? The Retrofuturism of Cuteness seeks to undo the temp...
Flamboyant Fictions
Exposes a stylistic tradition of flamboyantly failed passing in queer literature and film This book posits formal experimentation as an index for evolving expressions of male homosexuality from literary modernism to the German New Wave and the present day. Ian Fleishman exposes a tradition of flamingly failed passing that is itself a surreptitious mode of passing: the flaunting of queer style as an intentionally unconvincing cover for queer content. Exploring a corpus of films and novels by André Gide, Jean Genet, Rainer Werner Fassbinder, Werner Schroeter, François Ozon, and Xavier Dolan, among others, Flamboyant Fictions: The Failed Art of Passing intervenes in trenchant debates about queer agency, visibility, negativity, and disidentification. Mapping queer strategies of storytelling onto queer practices of self-invention, Flamboyant Fictions wagers that it is precisely in instances of conflict between these auteurs and their inventions that narrative becomes a laboratory for testing the sovereignty and self-determination of queer identity.
McSweeney's Issue 67 (McSweeney's Quarterly Concern)
McSweeney's multi-award-winning quarterly returns with 67th issue, pressed inside a brilliant metal cover. A three-time winner and eight-time finalist of the National Magazine Award for fiction, each issue of the quarterly is completely redesigned (there have been hardcovers and paperbacks, an issue with two spines, an issue with a magnetic binding, an issue that looked like a bundle of junk mail, and an issue that looked like a sweaty human head), but always brings you the very best in new literary fiction.
Gangster Films
The conventions of gangster movies have become well known: the gum-chewing moll, the kiss of death, incorruptible G-men and well-dressed gangsters toting machine guns. The genre was first popularized in the silent era and has continued with such contemporary releases as Billy Bathgate and Bugsy. Films, actors, directors, producers, cinematographers, plot devices, themes and more are included in this encyclopedic reference work to gangster films. For people, there are biographical sketches that focus on their work in gangster films. The film entries include year of release, distributor, cast and production credits, and a brief synopsis. Terms are placed in context of the genre, with relevant examples from gangster films given.
Afterwards
"A GRIPPING NOVEL." —New York Times Book Review When her children's school is set ablaze, Grace runs into the burning building to rescue her teenage daughter, Jenny. In the aftermath, badly injured, Grace learns the police have identified the arsonist, but they have blamed the wrong person. Only Detective Sarah McBride, the sister-in-law Grace has never liked, is searching for the real arsonist--a hunt that becomes urgent when it's clear Jenny is still the perpetrator's target. Page-turning suspense combines with a beautiful portrayal of deep family bonds to make this a stunning and riveting read. Now with Extra Libris material, including a reader’s guide and bonus content
Mcsweeney's Quarterly Issue 62
McSweeney's Quarterly returns with our first-ever queer lit issue, promising you a brilliant boundry expanding volume of original work. "A key barometer of the literary climate." --The New York Times "McSweeney's is so much more than a magazine; it's a vital part of our culture. " --Geoff Dyer, McSweeney's contributor and author of Jeff in Venice, Death in Varanasiand Otherwise Known as the Human Condition
McSweeney's Issue 64 (McSweeney's Quarterly Concern)
McSweeney's ever-changing Quarterly Concern returns with our 63 issue featuring a tribute to (and previously unpublished stories by) the acclaimed late author Stephen Dixon. Ever changing, each issue of the quarterly is completely redesigned (there has been an issue with two spines, an issue with a magnetic binding, an issue that looked like a bundle of junk mail) but always brings you the very best in new literary fiction. Recent McSweeney's stories have won or been shortlisted for the National Magazine Award, the Pushcart Prize, The Caine Prize for African Literature, and been included in various Best American anthologies among other honours. 'A key barometer of the literary climate.' -- The New York Times 'The first bona fide literary movement in decades.' -- Slate
A Room of One's Own
Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.
Mimesis as Make-Believe
Representations—in visual arts and in fiction—play an important part in our lives and culture. Kendall Walton presents here a theory of the nature of representation, which illuminates its many varieties and goes a long way toward explaining its importance. Drawing analogies to children’s make believe activities, Walton constructs a theory that addresses a broad range of issues: the distinction between fiction and nonfiction, how depiction differs from description, the notion of points of view in the arts, and what it means for one work to be more “realistic” than another. He explores the relation between appreciation and criticism, the character of emotional reactions to literary a...
