A Lit Hub Most Anticipated Book of 2021 An NPR Best Book of 2021 An Electric Literature Best Poetry Book of 2021 A Dennis Cooper Best Book of 2021 Hoarders is a tender and unusual exploration of place, loneliness, grief, and desire in late capitalist America. What is the true nature of the relationship between people and objects? Kate Durbin’s Hoarders is a quest into this question, vividly capturing the sticky attachments between people and their stuff. To create the book, Durbin took detailed notes while watching the reality TV show of the same name, one she had resisted watching for years because of her family’s history of hoarding. She then began whittling, re-arranging, researching, and writing, and what emerges is her unique form–fifteen jewel-like portraits of people and their beloved objects, in curious conversation with one another. Noah and Allie live in a Chicago house toppling with books. Chuck from Bisbee, Arizona hoards thousands of paintings of naked women. Gary from Franklin, Indiana has transformed his home into a forest, where he falls asleep each night surrounded by plants, both living and dead. Cathy in Centralia, Illinois spends her nights ordering Lularoe leggings and jewelry from Home Shopping channels. Shelley’s house in Warren, Michigan is crowded with Barbies and Beanie Babies. Durbin doesn't directly critique the reality show, yet she deftly demonstrates through these magnetic poems that there's far more to a person, a life, and their “things.”
»Kate Zambrenos Ruth är litteraturens lost girl. En plågsam, briljant bok.« | Kate Durbin »Elegant, kristallklar. Enastående läsning.« | L. A. Review of Books Ruth är en ung amerikanska i London. Om dagarna jobbar hon på parfymavdelningen på varuhuset Horrids, där hon försöker sälja parfymen Desire. Om kvällarna och nätterna rör hon sig genom en värld som liknar en enda ögonlob riktad mot henne. Vem är det som berättar hennes historia? Hur ska vi förstå den grymma tydlighet med vilken hon beskrivs? Kate Zambrenos succéroman Green Girl [2014] har jämförts med moderna klassiker som Sylvia Plaths Glaskupan, Jean Rhys Godmorgon, midnatt! och Clarice Lispectors Stjärnans ögonblick. Bokens hjältinna pendlar mellan tillstånd av alienation och intensiv närvaro. I filmen om henne själv, som hon oupphörligen har den ambivalenta känslan av att befinna sig i, liknar hennes roll »ett frågetecken, ett mysterium«. Hon gör allt för att spela rollen perfekt. Green Girl börjar redan framstå som en feministisk klassiker. Boken kom ut första gången 2011, men skrevs om och gavs ut igen: det är versionen från 2014 som tagit kritiker och läsare med storm. I svensk översättning av Helena Fagertun. KATE ZAMBRENO [född 1977] är en amerikansk författare som jämförts med såväl Kathy Acker som Elfriede Jelinek och Virginia Woolf. I likhet med den hyllade Hjältinnor [2012], en hybrid mellan självbiografi, dagbok, essä och roman, iscensätter hon i sin andra roman Green Girl en dialog med äldre litteratur ur en kvinnas perspektiv.
A Lit Hub Most Anticipated Book of 2021 An NPR Best Book of 2021 An Electric Literature Best Poetry Book of 2021 A Dennis Cooper Best Book of 2021 Hoarders is a tender and unusual exploration of place, loneliness, grief, and desire in late capitalist America. What is the true nature of the relationship between people and objects? Kate Durbin’s Hoarders is a quest into this question, vividly capturing the sticky attachments between people and their stuff. To create the book, Durbin took detailed notes while watching the reality TV show of the same name, one she had resisted watching for years because of her family’s history of hoarding. She then began whittling, re-arranging, researching, and writing, and what emerges is her unique form–fifteen jewel-like portraits of people and their beloved objects, in curious conversation with one another. Noah and Allie live in a Chicago house toppling with books. Chuck from Bisbee, Arizona hoards thousands of paintings of naked women. Gary from Franklin, Indiana has transformed his home into a forest, where he falls asleep each night surrounded by plants, both living and dead. Cathy in Centralia, Illinois spends her nights ordering Lularoe leggings and jewelry from Home Shopping channels. Shelley’s house in Warren, Michigan is crowded with Barbies and Beanie Babies. Durbin doesn't directly critique the reality show, yet she deftly demonstrates through these magnetic poems that there's far more to a person, a life, and their “things.”
A little more than seventy-five years ago, Kate L. Turabian drafted a set of guidelines to help students understand how to write, cite, and formally submit research writing. Seven editions and more than nine million copies later, the name Turabian has become synonymous with best practices in research writing and style. Her Manual for Writers continues to be the gold standard for generations of college and graduate students in virtually all academic disciplines. Now in its eighth edition, A Manual for Writers of Research Papers, Theses, and Dissertations has been fully revised to meet the needs of today’s writers and researchers. The Manual retains its familiar three-part structure, beginning with an overview of the steps in the research and writing process, including formulating questions, reading critically, building arguments, and revising drafts. Part II provides an overview of citation practices with detailed information on the two main scholarly citation styles (notes-bibliography and author-date), an array of source types with contemporary examples, and detailed guidance on citing online resources. The final section treats all matters of editorial style, with advice on punctuation, capitalization, spelling, abbreviations, table formatting, and the use of quotations. Style and citation recommendations have been revised throughout to reflect the sixteenth edition of The Chicago Manual of Style. With an appendix on paper format and submission that has been vetted by dissertation officials from across the country and a bibliography with the most up-to-date listing of critical resources available, A Manual for Writers remains the essential resource for students and their teachers.
A manifesto reclaiming the wives and mistresses of literary modernism that inspired a generation of writers and scholars, reissued after more than a decade. I am beginning to realize that taking the self out of our essays is a form of repression. Taking the self out feels like obeying a gag order—pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature. On the last day of December 2009, Kate Zambreno, then an unpublished writer, began a blog called "Frances Farmer Is My Sister," arising from her obsession with literary modernism and her recent transplantation to Akron, Ohio, where her partner held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants and melancholy portraits of the fates of the modernist “wives and mistresses," reclaiming the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community of writers and devised a new feminist discourse of writing in the margins and developing an alternative canon. In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it—she traces the genesis of a cultural template that consistently exiles feminine experience to the realm of the “minor,” and diagnoses women for transgressing social bounds. “ANXIETY: When she experiences it, it's pathological,” writes Zambreno. “When he does, it's existential.” With Heroines, Zambreno provided a model for a newly subjectivized criticism, prefiguring many group biographies and forms of autotheory and hybrid memoirs that were to come in the years to follow. A book that has become its own canon, Heroines was named one of the "50 Books that define the past 5 Years in Literature" by Flavorwire, an "Essential Feminist Manifesto" by Dazed, and one of the "50 Greatest Books by Women" in Buzzfeed.
When Kate L. Turabian first put her famous guidelines to paper, she could hardly have imagined the world in which today’s students would be conducting research. Yet while the ways in which we research and compose papers may have changed, the fundamentals remain the same: writers need to have a strong research question, construct an evidence-based argument, cite their sources, and structure their work in a logical way. A Manual for Writers of Research Papers, Theses, and Dissertations—also known as “Turabian”—remains one of the most popular books for writers because of its timeless focus on achieving these goals. This new edition filters decades of expertise into modern standards. While previous editions incorporated digital forms of research and writing, this edition goes even further to build information literacy, recognizing that most students will be doing their work largely or entirely online and on screens. Chapters include updated advice on finding, evaluating, and citing a wide range of digital sources and also recognize the evolving use of software for citation management, graphics, and paper format and submission. The ninth edition is fully aligned with the recently released Chicago Manual of Style, 17th edition, as well as with the latest edition of The Craft of Research. Teachers and users of the previous editions will recognize the familiar three-part structure. Part 1 covers every step of the research and writing process, including drafting and revising. Part 2 offers a comprehensive guide to Chicago’s two methods of source citation: notes-bibliography and author-date. Part 3 gets into matters of editorial style and the correct way to present quotations and visual material. A Manual for Writers also covers an issue familiar to writers of all levels: how to conquer the fear of tackling a major writing project. Through eight decades and millions of copies, A Manual for Writers has helped generations shape their ideas into compelling research papers. This new edition will continue to be the gold standard for college and graduate students in virtually all academic disciplines. Bestselling, trusted, and time-tested advice for writing research papers The best interpretation of Chicago style for higher education students and researchers Definitive, clear, and easy to read, with plenty of examples Shows how to compose a strong research question, construct an evidence-based argument, cite sources, and structure work in a logical way Essential for anyone interested in learning about research Everything any student or teacher needs to know concerning paper writing
To Write As If Already Dead circles around Kate Zambreno’s failed attempts to write a study of Hervé Guibert’s To the Friend Who Did Not Save My Life. In this diaristic, transgressive work, the first in a cycle written in the years preceding his death, Guibert documents with speed and intensity his diagnosis and disintegration from AIDS and elegizes a character based on Michel Foucault. The first half of To Write As If Already Dead is a novella in the mode of a detective story, searching after the mysterious disappearance of an online friendship after an intense dialogue on anonymity, names, language, and connection. The second half, a notebook documenting the doubled history of two bodies amid another historical plague, continues the meditation on friendship, solitude, time, mortality, precarity, art, and literature. Throughout this rigorous, mischievous, thrilling not-quite study, Guibert lingers as a ghost companion. Zambreno, who has been pushing the boundaries of literary form for a decade, investigates his methods by adopting them, offering a keen sense of the energy and confessional force of Guibert’s work, an ode to his slippery, scarcely classifiable genre. The book asks, as Foucault once did, “What is an author?” Zambreno infuses this question with new urgency, exploring it through the anxieties of the internet age, the ethics of friendship, and “the facts of the body”: illness, pregnancy, and death.
Have you ever wondered why some video game characters wear trousers and others don’t? Or pondered the connection between a character’s toned, muscular derrière and their level of dexterity? What about the depth of a crack, the jiggle of a cheek? When it comes to video game character designs, one of the most overlooked aspects is the buttocks. Sure, we might appreciate a nice toned butt on a character or giggle at GIFs of farts from time to time, but how often do we stop to really think about the meaning of the butt? In Things I Learned from Mario’s Butt, video game critic Laura Kate Dale brings backsides to the foreground, analysing dozens of posteriors and asking the important questions: Has Mario let himself go? Do Link’s small buttocks hold him back? When he dies, is Pac-Man eaten by his own caboose? Wedged full of original artwork by Zack Flavin, and featuring interviews with game developers and guest butt reviews from gaming favourites such as Jim Sterling, Stuart Ashen, Brentalfloss and more, this book is a deep dive into why butts are downright integral to the games we play. So, crack it open and have a cheeky look inside at some of the most interesting bottoms the world of video games has to offer.
New York Times reporters Robin Pogrebin and Kate Kelly take a deeper look into Brett Kavanaugh and how his formative years led to the most important #MeToo story of the decade.
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