The Daunting Ephemeral explores the quirky and creative side of life, and embraces spirituality from a humanistic worldview. Pickering misappropriates the language of religion and some of its history to ask the reader if our conceptions of the divine are overly simple, and if we can embrace awe and mystery without compunction. Pickering's first full-length collection of poems also includes The Vanishing Point, a short chapbook published in 2012. The author pursues questions most people are afraid to ask: "If God exists, why do I not believe?" The Daunting Ephemeral will not answer life's mysteries, but it will provide a backdrop for curiosity, imagination, and struggle. It will ask the reader to stare deeply into the eyes of the Unknown-- and ask if it is truly the Unknown, does it truly know it is?
This collection of verse by two disabled poets promises its reader an awakening in how disabled people survive and find success despite difficulty and dependence. And also how they draw from their past to fight a problem almost everyone faces: loneliness. As America takes interest in the plight of the disadvantaged, Imitations of Love Poems, is an important collection to peruse with pleasure and sympathy. Love, in its universality, is also stunningly individual in its expression."--Back cover.
Harbinger Asylum is a poetry and arts journal based in Houston, Texas. We were nominated as best poetry magazine in the year 2013 by the National Poetry Awards. Harbinger Asylum is printed and distributed by Transcendent Zero Press, an independent poetry publishing company. Cover art by Elena Botts. Graphic design by Chad Sorg.
NadaDada Motel is an artists-in-motel experience based in Reno, Nevada. The motto expresses the basic idea: get a room, make a show. This issue of Harbinger Asylum, a nationally recognized poetry publication, we celebrate NadaDada and the freshness it inspires. The publication includes writings and images by NadaDada participants. For this issue we have filled 70 pages of poetry, writing, and photos to introduce the reader to a whole 21st Century look at art exhibition. This is new, this is fresh, this is pure. NadaDada Motel has even inspired entrepreneurs to begin their careers. The event has also been featured in the New York Times. Take a minute to order a copy today!
Welcome to the third release of Vagabonds: Anthology of the Mad Ones. Open up and hitch a ride with a pack full of nameless ghosts sharing their stories the only way they know how! Vagabonds is a non-profit, creative arts anthology that accepts a wide variety of art media such as photography, poetry, short fiction, creative non-fiction, digital artwork and more. Our anthology publishes twice a year. To find out more information about our submission process, please review our submission guidelines. Our first anthology was released on August 6th, 2012 and we've been growing ever since. Over the past few years we've pushed out 4 anthologies, put our latest one up for sale on amazon, featured several poets, writers and artists, and watched them all grow along with us. We've created a community and have been enjoying every moment of it. This year, 2014, we were nominated for the Best Poetry Magazine of the Year award by the National Poetry Awards. Our goal has always been to help artists get out there, connect the mad ones and watch them grow over time.
Harbinger Asylum is a Houston-based magazine for literature and the arts. It is internationally known, and has published poets from Egypt, Canada, Greece, and many states in the USA. Cover designed and painted by Chad Sorg.
From One Sphere to Another is a collection of Harbinger Asylum's best poetry published from 2010-12. Harbinger Asylum is Houston's own international poetry magazine. It was nominated as best magazine of the year at the 2013 National Poetry Awards. We publish poems from established writers as well as emerging writers. We include writing by Lorna Dee Cervantes, Sabina England, Chad Sorg, and many others in this volume. Cover art by Bill Lewis. Cover design by AJ Price Design. The book is dedicated to Neil Armstrong in memory of his contribution and passing.
As Dustin Abnet shows, the robot-whether automaton, Mechanical Turk, cyborg, or iPhone, whether humanized machine or mechanized human being-has long been a fraught embodiment of human fears. Abnet investigates, moreover, how the discourse of the robot has reinforced social and economic inequalities as well as fantasies of social control. "Robots" as a trope are not necessarily mechanical but are rather embodiments of quasi humanity, exhibiting a mix of human and nonhuman characteristics. Such figures are troubling to dominant discourses, which cannot easily assimilate them or identify salient boundaries. The robot lurks beneath the fears that fracture society"--
Here is the ideal introduction to satire for the student and, for the experienced scholar, an occasion to reconsider the uses, problems, and pleasures of satire in light of contemporary theory. Satire is a staple of the literary classroom. Dustin Griffin moves away from the prevailing moral-didactic approach established thirty some years ago to a more open view and reintegrates the Menippean tradition with the tradition of formal verse satire. Exploring texts from Aristophanes to the moderns, with special emphasis on the eighteenth century, Griffin uses a dozen figures—Horace, Juvenal, Persius, Lucian, More, Rabelais, Donne, Dryden, Pope, Swift, Blake, and Byron—as primary examples. Because satire often operates as a mode or procedure rather than as a genre, Griffin offers not a comprehensive theory but a set of critical perspectives. Some of his topics are traditional in satire criticism: the role of satire as moralist, the nature of satiric rhetoric, the impact of satire on the political order. Others are new: the problems of satire and closure, the pleasure it affords readers and writers, and the socioeconomic status of the satirist. Griffin concludes that satire is problematic, open-ended, essayistic, and ambiguous in its relationship to history, uncertain in its political effect, resistant to formal closure, more inclined to ask questions than provide answers, and ambivalent about the pleasures it offers.
Comic Performativities: Identity, Internet Outrage, and the Aesthetics of Communication studies patterns of criticism and public debate in the relationship between humour, identity, and offense. In an increasingly reductive and politically charged debate, right-wing pundits argue leftist politics has compromised a free and open discussion, while scholars take right-wing critics to task for reifying systems of oppression under the guise of reason and respect. In response, Goltz scrutinises twenty-first century "comedic controversies," the notion of "political correctness," and the so-called "outrage machine" of social media. How should we appropriately determine whether a joke is "sexist," "racist," or "offensive"? Informed by communication, performance, and critical identity theory, Goltz examines infamous controversies involving performers like Sarah Silverman, Amy Schumer, and Seth MacFarlane, and the social media backlash that redefined these events. He investigates the ironic interplay between spoken word, identity, physicality and, as a result, the contrasting meanings potentially construed. Consequently, the book encourages a greater appreciation of the aesthetics involved in comedic performance that help signpost interpretation and emphasizes the role of the audience as self-reflexive and self-aware. This book highlights the significant parallels between the nature of performance art and comedic performance in order to elevate analysis of, and discussion around, contemporary comedy. In doing so, it is an important critical contribution to the field of performance studies and cultural criticism, as well as communication studies, at both the undergraduate and postgraduate level.
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