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In Elaine Kraf's witty, sardonic novel The Princess of 72nd Street, the Princess Esmeralda is sure of her royalty, her seizures of "radiance," and her domain--Manhattan's 72nd Street from Central Park West to Riverside Drive. On the other hand, Ellen (who shares a body with the Princess) has trouble coping with an ex-lover, his psychiatrist, an ex-husband, dining out, putting just one color on her canvases at a time, and trying to keep a radiant Esmeralda from being arrested. She has even taken to propping up large signs to remind the Princess that MONEY IS THE MEANS OF BARTER and DON'T LET STRANGE MEN INTO YOUR APARTMENT. The Princess, however, can be most persuasive: she wants to remain a princess. If only she could learn to control the radiances, retain the wonderful feelings, remember what happens...
An uncanny novel which provides keen insight on patriarchal violence and female identity by the author of feminist cult classic The Princess of 72nd Street Understand my beginning with Oliver. You will see that my love for him is not a romantic fantasy. Every bit of this love was formed from the reality of primary needs—ingestion, excretion, simple pleasure and pain. Our narrator’s name and origins are unknown. The man she lives with, Oliver, who serves as both her caregiver and her captor, told her she came to him from another star. Though she arrived a grown woman, she did not yet have the ability to speak or count. Oliver had to teach her how to properly chew her food and clean hersel...
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From the cult-favorite feminist author of The Princess of 72nd Street, a classic novel about a captive woman who must use unorthodox methods to reclaim her fractured mind The dimensions of this house have already shaped your response. Did you think you could hide forever from the violence inside you? This fever dream of a novel features a protagonist who shares the same name as its author. Elaine first entered the house as moral support for her friend and fellow schoolteacher, Florence, but now there are no exits in sight. All the inexplicable residents of the space—Florence’s beguiling brother, her inattentive lover, distant mother, wizard father, and even her and Elaine’s school prin...
An extremely well-written, compassionate guide for the millions of people who come face to face with a death in their own families When a brother or sister dies, surviving siblings often receive little support or recognition of their pain. But their grief is real, and there is a way to recover from it. Through intimate, true stories and interviews with brothers and sisters who have lost a sibling, expert-on-grief Katherine Fair Donnelly provides valuable insight on how to survive this traumatic experience. Recovering from the Loss of a Sibling is the first guide dedicated to those who have lost a brother or sister, and presents practical ways they can take the necessary steps toward recovering from their devastating loss.
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A satirical feminist classic about a woman who leaves her stifling place in her brother’s London home for the wilds of the English countryside, where she meets and makes a deal with the devil himself—with an introduction by Mona Awad, author of Bunny “Lolly Willowes calls for ‘a life of one’s own’ three years before Virginia Woolf’s impassioned cry for a room. . . . An elegantly enchanting tale that transcends its era.”—The Guardian Laura “Lolly” Willowes is an unmarried, middle-aged woman in early-twentieth-century London—a spinster who has lived with, and in service of, her brother’s overbearing family for the past twenty years. With her brother’s children now g...
"Graceful and impassioned, The Woman in the Red Dress offers important new approaches to narratives about father-daughter incest as well as stories that contaminate the myth of home as a safe space and map a geography of sexual violence, victimization, and survival. Gwin situates her analysis of fiction such as Morrison's The Bluest Eye. Alice Walker's The Color Purple, Dorothy Allison's Bastard out of Carolina, and Jane Smiley's A Thousand Acres within contemporary debates concerning survivor discourse, theories of domestic space, and issues of race and class. She also explores books - such as Hulme's The Bone People - that enter a murky and liminal queer space in which gender itself travels and the most claustrophic physical and social spaces can unexpectedly unhinge and open.".
Despite the overuse of the word in movies, political speeches, and news reports, "evil" is generally seen as either flagrant rhetoric or else an outdated concept: a medieval holdover with no bearing on our complex everyday reality. In "A Philosophy of Evil," however, acclaimed philosopher Lars Svendsen argues that evil remains a concrete moral problem: that we're all its victims, and all guilty of committing evil acts. "It's normal to be evil," he writes--the problem is, we have lost the vocabulary to talk about it. Taking up this problem--how do we speak about evil?--"A Philosophy of Evil" treats evil as an ordinary aspect of contemporary life, with implications that are moral, practical, and above all, political. Because, as Svendsen says, "Evil should neither be justified nor explained away--evil must be fought."