Outspoken critic Jessa Crispin delivers a searing rejection of contemporary feminism . . . and a bracing manifesto for revolution. Are you a feminist? Do you believe women are human beings and that they deserve to be treated as such? That women deserve all the same rights and liberties bestowed upon men? If so, then you are a feminist . . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more. Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression. Praise for Jessa Crispin, and The Dead Ladies Project "I'd follow Jessa Crispin to the ends of the earth." --Kathryn Davis, author of Duplex "Read with caution . . . Crispin is funny, sexy, self-lacerating, and politically attuned, with unique slants on literary criticism, travel writing, and female journeys. No one crosses genres, borders, and proprieties with more panache." --Laura Kipnis, author of Men: Notes from an Ongoing Investigation "Very, very funny. . . . The whole book is packed with delightfully offbeat prose . . . as raw as it is sophisticated, as quirky as it is intense." --The Chicago Tribune
Jessa Crispin melds personal narrative with history and current events to explore the dark side of Kansas, where she grew up. She meditates on why the American Midwest still enjoys an esteemed position in the US's imagination about itself, why its foundational myths are the myths of what it means to be "American." And while we may romanticize aspects of Midwestern life-the nuclear family, the pioneering attitude, the small town friendliness-the realities, she argues, are harsher: so-called Midwestern values cover up a long history of oppression and control over Native Americans, over women, over the economically disadvantaged. Her subjects range from The Wizard of Oz to the White race, from chastity to rape, from radical militias and recent terrorist plots to Utopian communities; from the murders of the Clutter family made famous in Truman Capote's In Cold Blood, to her own horror when a beloved art teacher inexplicably one night slaughtered his wife and three daughters and killed himself. Her pursuit takes her back to the Civil War, John Brown, and the immigration of German religious communities to the Midwest; she then ferries across the Atlantic Ocean to Amsterdam to visit a lay seminary for women where, since the Reformation, they have found sanctuary from violence and domestic abuse. Yet, despite the darkness, which is Crispin's stock in trade, there is a kind of bleak redemption at the heart of this project, the insight that, no matter where you go, no matter how far from home you roam, the place you came from is always with you, "like it or not.""--
When Jessa Crispin was thirty, she burned her settled Chicago life to the ground and took off for Berlin with a pair of suitcases and no plan beyond leaving. Half a decade later, she’s still on the road, in search not so much of a home as of understanding, a way of being in the world that demands neither constant struggle nor complete surrender. The Dead Ladies Project is an account of that journey—but it’s also much, much more. Fascinated by exile, Crispin travels an itinerary of key locations in its literary map, of places that have drawn writers who needed to break free from their origins and start afresh. As she reflects on William James struggling through despair in Berlin, Nora Barnacle dependant on and dependable for James Joyce in Trieste, Maud Gonne fomenting revolution and fostering myth in Dublin, or Igor Stravinsky starting over from nothing in Switzerland, Crispin interweaves biography, incisive literary analysis, and personal experience into a rich meditation on the complicated interactions of place, personality, and society that can make escape and reinvention such an attractive, even intoxicating proposition. Personal and profane, funny and fervent, The Dead Ladies Project ranges from the nineteenth century to the present, from historical figures to brand-new hangovers, in search, ultimately, of an answer to a bedrock question: How does a person decide how to live their life?
A hip, accessible, and practical guide for artists and creative people looking to tarot for guidance and inspiration in the tradition of The Secret Language of Birthdays and Steal Like an Artist. What if the path to creativity was not as challenging as everyone thinks? What if you could find that spark, plot twist, or next project by simply looking at your life and your art through a different lens? Written for novices and seasoned readers alike, The Creative Tarot is a unique guidebook that reimagines tarot cards and the ways they can boost the creative process. Jessa Crispin guides you through the intuitive world of the tarot to get those creative juices flowing again. Thought to be esoteric and mystical, tarot cards are approachable and endlessly helpful to overcoming creative blocks. Crispin offers spiritual readings of the cards, practical information for the uninspired artist, and a wealth of fascinating anecdotes about famous artists including Virginia Woolf, Rembrandt, and David Bowie, and how they found inspiration. With five original tarot spreads and beautiful illustrations throughout, The Creative Tarot is an accessible, colorful guide that demystifies both the tarot and the creative process.
Jessa Crispin melds personal narrative with history and current events to explore the dark side of Kansas, where she grew up. She meditates on why the American Midwest still enjoys an esteemed position in the US's imagination about itself, why its foundational myths are the myths of what it means to be "American." And while we may romanticize aspects of Midwestern life-the nuclear family, the pioneering attitude, the small town friendliness-the realities, she argues, are harsher: so-called Midwestern values cover up a long history of oppression and control over Native Americans, over women, over the economically disadvantaged. Her subjects range from The Wizard of Oz to the White race, from chastity to rape, from radical militias and recent terrorist plots to Utopian communities; from the murders of the Clutter family made famous in Truman Capote's In Cold Blood, to her own horror when a beloved art teacher inexplicably one night slaughtered his wife and three daughters and killed himself. Her pursuit takes her back to the Civil War, John Brown, and the immigration of German religious communities to the Midwest; she then ferries across the Atlantic Ocean to Amsterdam to visit a lay seminary for women where, since the Reformation, they have found sanctuary from violence and domestic abuse. Yet, despite the darkness, which is Crispin's stock in trade, there is a kind of bleak redemption at the heart of this project, the insight that, no matter where you go, no matter how far from home you roam, the place you came from is always with you, "like it or not.""--
When Jessa Crispin was thirty, she burned her settled Chicago life to the ground and took off for Berlin with a pair of suitcases and no plan beyond leaving. Half a decade later, she’s still on the road, in search not so much of a home as of understanding, a way of being in the world that demands neither constant struggle nor complete surrender. The Dead Ladies Project is an account of that journey—but it’s also much, much more. Fascinated by exile, Crispin travels an itinerary of key locations in its literary map, of places that have drawn writers who needed to break free from their origins and start afresh. As she reflects on William James struggling through despair in Berlin, Nora Barnacle dependant on and dependable for James Joyce in Trieste, Maud Gonne fomenting revolution and fostering myth in Dublin, or Igor Stravinsky starting over from nothing in Switzerland, Crispin interweaves biography, incisive literary analysis, and personal experience into a rich meditation on the complicated interactions of place, personality, and society that can make escape and reinvention such an attractive, even intoxicating proposition. Personal and profane, funny and fervent, The Dead Ladies Project ranges from the nineteenth century to the present, from historical figures to brand-new hangovers, in search, ultimately, of an answer to a bedrock question: How does a person decide how to live their life?
Outspoken critic Jessa Crispin delivers a searing rejection of contemporary feminism . . . and a bracing manifesto for revolution. Are you a feminist? Do you believe women are human beings and that they deserve to be treated as such? That women deserve all the same rights and liberties bestowed upon men? If so, then you are a feminist . . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more. Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression. Praise for Jessa Crispin, and The Dead Ladies Project "I'd follow Jessa Crispin to the ends of the earth." --Kathryn Davis, author of Duplex "Read with caution . . . Crispin is funny, sexy, self-lacerating, and politically attuned, with unique slants on literary criticism, travel writing, and female journeys. No one crosses genres, borders, and proprieties with more panache." --Laura Kipnis, author of Men: Notes from an Ongoing Investigation "Very, very funny. . . . The whole book is packed with delightfully offbeat prose . . . as raw as it is sophisticated, as quirky as it is intense." --The Chicago Tribune
A hip, accessible, and practical guide for artists and creative people looking to tarot for guidance and inspiration in the tradition of The Secret Language of Birthdays and Steal Like an Artist. What if the path to creativity was not as challenging as everyone thinks? What if you could find that spark, plot twist, or next project by simply looking at your life and your art through a different lens? Written for novices and seasoned readers alike, The Creative Tarot is a unique guidebook that reimagines tarot cards and the ways they can boost the creative process. Jessa Crispin guides you through the intuitive world of the tarot to get those creative juices flowing again. Thought to be esoteric and mystical, tarot cards are approachable and endlessly helpful to overcoming creative blocks. Crispin offers spiritual readings of the cards, practical information for the uninspired artist, and a wealth of fascinating anecdotes about famous artists including Virginia Woolf, Rembrandt, and David Bowie, and how they found inspiration. With five original tarot spreads and beautiful illustrations throughout, The Creative Tarot is an accessible, colorful guide that demystifies both the tarot and the creative process.
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