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While trauma theory has been adopted by contemporary literary and cultural studies as an ethical way to study depictions of suffering, there is a risk that its present use could cause more harm than good. By emphasizing inaccessible histories, unspeakable suffering, and unconscious witnessing, trauma theory may lead readers to claim others’ suffering through empathic identification. In With the Witnesses, Dale Tracy argues that poetry offers an alternative approach to engage with not only suffering in art but suffering in general. Examining the strategies of witness poetry, Tracy interrogates and reformulates the dominant models of trauma studies in which readers take over the witnessing p...
When Sandy Shores joined the CIA right out of college, she had no way of knowing that in fifteen years she would be returning home for good, too badly injured by a foreign general to continue her career with the agency. Opening a private investigators office seemed the logical thing to do, but getting involved with murder, multiple personalities, and rape were not in her plans. When she is dragged off into the forest to die and it becomes necessary to kill or be killed, Sandy realizes that human evil isnt confined to foreign soil.
In this volume, Amnon Kabatchnik provides an overview of more than 150 important and memorable theatrical works of crime and detection between 1925 and 1950. Each entry includes a plot synopsis, production data, and the opinions of well known and respected critics and scholars.
You will find written in this biography of this book as things happened in one's life. As the story unfolds she was raised by an aunt/uncle in their later years; who had little schooling; and, at the age of 50 having literally only a dime to her name.
A breathtaking novel of dark suspense and bittersweet nostalgia, Second Chance breaks new ground for a writer whose work critics have favorably compared to such disparate writers as Camus, Cheever, and Stephen King. In Second Chance, Chet Williamson defines a generation and gives readers the ride of their lives through a disquietingly different and threatened America. Thrills, romance, and nail-biting suspense combine to create a novel in which a Big Chill-like gathering of old friends could lead to the real "Big Chill" for every person on Earth. It all begins innocently enough. Woody Robinson, a successful musician, gathers his baby boomer friends and recreates an evening in 1969 out of nos...
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Sharing the Past is an unprecedentedly detailed account of the intertwining discourses of Canadian history and creative literature. When social history emerged as its own field of study in the 1960s, it promised new stories that would bring readers away from the elite writing of academics and closer to the everyday experiences of people. Yet, the academy's continued emphasis on professional distance and objectivity made it difficult for historians to connect with the experiences of those about whom they wrote, and those same emphases made it all but impossible for non-academic experts to be institutionally recognized as historians. Drawing on interviews and new archival materials to construct a history of Canadian poetry written since 1960, Sharing the Past argues that the project of social history has achieved its fullest expression in lyric poetry, a genre in which personal experiences anchor history. Developing this genre since 1960, Canadian poets have provided an inclusive model for a truly social history that indiscriminately shares the right to speak authoritatively of the past.
Peter Pilkey (Pierre Pelletier) was born in 1774 in the province of Quebec. He moved to Ontario ca. 1800 and married Catharine Barnhart (ca. 1784-1871). They had nine sons born between 1804 and 1829. Peter died in 1856 near Claremont, Pickering Township, Ontario. Many descendants live in Ontario and throughout Canada.