How can Enid move forward when her marriage, as well as the world she has known, simultaneously fall apart? In the midst of the COVID 19 pandemic, Enid Alger Kimble, protagonist of Bromwich's first novel, Not Your Penance, seeks to reconcile with her past, and finds, through ruin, rebirth. Having returned to Canada and to work as a lawyer, Enid leaves her surgeon husband, Dr. Arthur Kimble. Trying to find healing and a purpose beyond the roles of wife and mother about which she has felt so ambivalent, Enid travels physically and metaphorically through the ruins of her marriage, the ruins of Classical Greece in the Aegean, and finally the remnants of her own prairie childhood. Enid undertakes a long overdue homecoming to accept the Blackfoot Nation's offer of COVID 19 vaccinations, as she journeys into single parenting her five children. As far flung and diverse as the first novel in the series is claustrophobic and tense, Ruin offers fresh perspectives on law, midlife, mothering, and divorce. It is a windswept, hope-filled story of reconciliation and redemption through the COVID 19 pandemic, midlife, law, and divorce.
The 2007 death by self-induced strangulation in prison of nineteen year old inmate Ashley Smith drew a great deal of public attention. The case gave rise to a shocking verdict of homicide in the 2013 inquest into the cause of her death. In this book, I inquire into questions about of what social problem or phenomenon Ashley Smith is a “case,” and what governmental work is done by prevalent constructions of her as an exemplar. This book performs a critical discourse analysis of figures of Ashley Smith that emerge in her case, looking at those representations as technologies of governance. It argues that the Smith case is read most accurately not as an isolated system failure but an extreme result of routine, everyday brutality, of a society and bureaucracies’ gradual necropolitical successes. It critically analyzes how representations of Ashley in the case leave intact, and even reinforce, logics and systems governing gender, motherhood, security, risk, race thinking and exclusion, in power and knowledge that make it predictable for similar deaths in prison to recur. It argues that, in the logics underlying constructions through which Ashley Smith was celebritized and sacralized, mothers’, girls’ and women’s subjectivities and agencies are made unknowable and even unthinkable while the racialized social boundaries of a white settler society are maintained. This book attempts to intervene in those logics to help make alternative outcomes possible and to take steps towards questioning the raced, classed and heteronormative boundaries of commonly assumed figures of the “noble victim”, “good girl” and “good mother” while supporting the agencies of adolescent girls in actively playing a part in the authoring of their lives.
One quiet October morning, in a suburban neighbourhood of Cincinnati, Ohio, after awakening from a recurring nightmare, 41-year-old stay-at-home mom and social media aficionado Enid Kimble receives two messages—one a disquieting phone call about her mother, and the other a newspaper clipping in a plain envelope in her mailbox—that start to unravel her carefully woven-together world. These two startling messages force Enid to grapple with her past and future in new ways. In a story that weaves together crime, legal drama, romance, adolescence, and motherhood, Enid Kimble struggles to come to terms with her past and makes life-altering decisions about her future. This tense, layered novel debut by lawyer and legal scholar Rebecca Jaremko Bromwich, with the gifted and troubled character of Enid at its centre, spins an intriguing story about motherhood, love, law, coming to terms with the complexities of our pasts, and claiming our futures. In doing so, the author offers invigorating and original engagements with law, mythology, feminism, and motherhood that will resonate with legal professionals, academics, and the general public alike. Poignant and funny, the story weaves together scrupulously accurate legal narrative and compelling personal drama.
How can Enid move forward when her marriage, as well as the world she has known, simultaneously fall apart? In the midst of the COVID 19 pandemic, Enid Alger Kimble, protagonist of Bromwich's first novel, Not Your Penance,seeks to reconcile with her past, and finds, through ruin, rebirth. Having returned to Canada and to work as a lawyer, Enid leaves her surgeon husband, Dr. Arthur Kimble. Trying to find healing and a purpose beyond the roles of wife and mother about which she has felt so ambivalent, Enid travels physically and metaphorically through the ruins of her marriage, the ruins of Classical Greece in the Aegean, and finally the remnants of her own prairie childhood. Enid undertakes a long overdue homecoming to accept the Blackfoot Nation's offer of COVID 19 vaccinations, as she journeys into single parenting her five children. As far flung and diverse as the first novel in the series is claustrophobic and tense, Ruin offers fresh perspectives on law, midlife, mothering and divorce. It is a windswept, hope-filled story of reconciliation and redemption through the COVID 19 pandemic, midlife, law, and divorce.
One quiet October morning, in a suburban neighbourhood of Cincinnati, Ohio, after awakening from a recurring nightmare, 41-year-old stay-at-home mom and social media aficionado Enid Kimble receives two messages—one a disquieting phone call about her mother, and the other a newspaper clipping in a plain envelope in her mailbox—that start to unravel her carefully woven-together world. These two startling messages force Enid to grapple with her past and future in new ways. In a story that weaves together crime, legal drama, romance, adolescence, and motherhood, Enid Kimble struggles to come to terms with her past and makes life-altering decisions about her future. This tense, layered novel debut by lawyer and legal scholar Rebecca Jaremko Bromwich, with the gifted and troubled character of Enid at its centre, spins an intriguing story about motherhood, love, law, coming to terms with the complexities of our pasts, and claiming our futures. In doing so, the author offers invigorating and original engagements with law, mythology, feminism, and motherhood that will resonate with legal professionals, academics, and the general public alike. Poignant and funny, the story weaves together scrupulously accurate legal narrative and compelling personal drama.
The 2007 death by self-induced strangulation in prison of nineteen year old inmate Ashley Smith drew a great deal of public attention. The case gave rise to a shocking verdict of homicide in the 2013 inquest into the cause of her death. In this book, I inquire into questions about of what social problem or phenomenon Ashley Smith is a “case,” and what governmental work is done by prevalent constructions of her as an exemplar. This book performs a critical discourse analysis of figures of Ashley Smith that emerge in her case, looking at those representations as technologies of governance. It argues that the Smith case is read most accurately not as an isolated system failure but an extreme result of routine, everyday brutality, of a society and bureaucracies’ gradual necropolitical successes. It critically analyzes how representations of Ashley in the case leave intact, and even reinforce, logics and systems governing gender, motherhood, security, risk, race thinking and exclusion, in power and knowledge that make it predictable for similar deaths in prison to recur. It argues that, in the logics underlying constructions through which Ashley Smith was celebritized and sacralized, mothers’, girls’ and women’s subjectivities and agencies are made unknowable and even unthinkable while the racialized social boundaries of a white settler society are maintained. This book attempts to intervene in those logics to help make alternative outcomes possible and to take steps towards questioning the raced, classed and heteronormative boundaries of commonly assumed figures of the “noble victim”, “good girl” and “good mother” while supporting the agencies of adolescent girls in actively playing a part in the authoring of their lives.
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