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In the language of fan fiction, a 'Mary Sue' is an idealised and implausibly flawless character: a female archetype that can infuriate audiences for its perceived narcissism.Such is the setting for this brilliant and important debut by Sophie Collins. In a series of verse and prose collages, Who Is Mary Sue? exposes the presumptive politics behind writing and readership: the idea that men invent while women reflect; that a man writes of the world outside while a woman will turn to the interior.Part poetry and part reportage, at once playful and sincere, these fictive-factive miniatures deploy original writing and extant quotation in a mode of pure invention. In so doing, they lift up and lay...
Small White Monkeys is a fragmented essay that includes poems and images on self- expression, self-help, and shame. Beginning with the image of small white monkeys, the text examines the authors relationship with shame through a series of short studies on cats, hair as a metonym for the self in poetry and fiction, and perceptions of sexual violence, among other things. Using the Glasgow Womens Librarys Archive Collections and Lending Library for research, Collins incorporates material from the librarys archives and the work of female creators past and present, including Anna Mendelssohn, Jean Rhys, Selima Hill, Adrian Piper, June Jordan, Denise Riley, vahni Capildeo, and veronica forrest-Thomson. Based in edinburgh, Collins is the editor of Currently & Emotion, an anthology of contemporary poetry translations. She was featured in Penguin Modern Poets 1, alongside work by Anne Carson and emily Berry, and has been recognized for her extensive poetic works.
Frank, conversational and suffused with a dry humour, this book is a record of poet and novelist Lieke Marsman's diagnosis, events and thoughts of having bone cancer. An energising mix of prose and lyric, the poems offer readings of both the writer and her environment. Translated by poet Sophie Collins.
LONDON
A guide to dog behavior shows how the positions and movements of the ears, eyes, head, mouth and teeth, back, legs, and tail correspond the mood of the animal.
For any girl looking for a boy who's more Cullen than caveman, this book is her helping hand to a happy ending. Packed full of quizzes, charts, and fail-safe advice, this guide offers the lowdown on how to successfully date a vampire.
"Answers to just about every question you could have about dogs" - ***** reader's review Why does your dog get so possessive over the sofa, or so excited when someone calls at the front door? And why does he bark at bicycles and growl at men in hats? This book will help you solve the riddles of your dogs behaviour and put your own into context!
Who was the Grey Lady of Pevensey Castle? How many pubs are there in Sussex? How long would the Cuckmere be if it were stretched out? Where could you have dined on Pigeons au soleil. What (or who) on earth is the Knucker? How many men did it take to run the Shoreham Oyster Fleet? Who won the Battle of Lewes? How many Lords Lieutenant does it take to run the county? Where are the Mutton Barracks? What's the highest score ever made in one match by Sussex County Cricket Club? For answers to these burning questions, or for a lovely lazy afternoon dipping into an entertainingly quirky mix of local facts, figures, history, statistics and folk tales, turn to the Sussex Miscellany, a refreshing Schott of Sussex for readers who love local trivia.
Does your much-loved pet have a rather limited repertoire? Well, now you can combine play with trick-training and have plenty of fun too! The full range of games and tricks guarantees there's something for every dog!
The Alliterative Morte Arthure - the title given to a four-thousand line poem written sometime around 1400 - was part of a medieval Arthurian revival which produced such masterpieces as Sir Gawain and the Green Knight and Sir Thomas Malory's prose Morte D'Arthur. Like Gawain, the Alliterative Morte Arthure is a unique manuscript (held in the library of Lincoln Cathedral) by an anonymous author, and written in alliterating lines which harked back to Anglo-Saxon poetic composition. Unlike Gawain, whose plot hinges around one moment of jaw-dropping magic, The Death of King Arthur deals in the cut-and-thrust of warfare and politics: the ever-topical matter of Britain's relationship with continental Europe, and of its military interests overseas. Simon Armitage is already the master of this alliterative music, as his earlier version of Sir Gawain and the Green Knight (2006) so resourcefully and exuberantly showed. His new translation restores a neglected masterpiece of story-telling, by bringing vividly to life its entirely medieval mix of ruthlessness and restraint.