This book examines how the cultural and ethical power of literature allowed writers and readers to reflect on the practice of capital punishment in the UK, Ireland and the US between 1890 and 1950. It explores how connections between ‘high’ and ‘popular’ culture seem particularly inextricable where the death penalty is at stake, analysing a range of forms including major works of canonical literature, detective fiction, plays, polemics, criminological and psychoanalytic tracts and letters and memoirs. The book addresses conceptual understandings of the modern death penalty, including themes such as confession, the gothic, life-writing and the human-animal binary. It also discusses the role of conflict in shaping the representation of capital punishment, including chapters on the Easter Rising, on World War I, on colonial and quasi-colonial conflict and on World War II. Ebury’s overall approach aims to improve our understanding of the centrality of the death penalty and the role it played in major twentieth century literary movements and historical events.
Through examining the work of W. B. Yeats, James Joyce, and Samuel Beckett, Katherine Ebury shows cosmology had a considerable impact on modernist creative strategies, developing alternative reading models of difficult texts such as Finnegans Wake and 'The Trilogy'.
Journal of Katherine Mansfield' is one of the great classics of 20th century literature. Compiled by her husband John Middleton Murry soon after she died and published in 1927, it consists of fragments of diary entries, unposted letters, and scraps of writing.
A collection of three classics, two of them Newbery Award Medal winners, and one a National Book Award winner by highly acclaimed author Katherine Paterson.
Working Girls offers a cultural and literary history of telegraphists, typists, shop-girls, and barmaids. It argues that these occupations helped to shape a distinctively new identity for emancipated young women, and explores how authors used this to navigate a precarious literary landscape.
Across countries and time, asylum-seekers and refugees have been represented in a variety of ways. In some representations they appear negatively, as dangers threatening to ‘over-run’ a country or a region with ‘floods’ of incompatible strangers. In others, the same people are portrayed positively, with compassion, and pictured as desperately in need of assistance. How these competing perceptions are received has significant consequences for determining public policy, human rights, international agreements, and the realization of cultural diversity, and so it is imperative to understand how these images are perpetuated. To this end, this volume reflects on museum practice and the contexts, stories, and images of asylum seekers and refugees prevalent in our mass media. Based on case studies from Australia, New Zealand, and the United Kingdom, the overall findings are illustrative of narratives and images common to museums and the media throughout the world. They aim to challenge political rhetoric and populist media imagery and consider what forms of dissent are likely to be sustained and what narratives ultimately break through and can lead to empathy and positive political change.
Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.
This book examines how the cultural and ethical power of literature allowed writers and readers to reflect on the practice of capital punishment in the UK, Ireland and the US between 1890 and 1950. It explores how connections between ‘high’ and ‘popular’ culture seem particularly inextricable where the death penalty is at stake, analysing a range of forms including major works of canonical literature, detective fiction, plays, polemics, criminological and psychoanalytic tracts and letters and memoirs. The book addresses conceptual understandings of the modern death penalty, including themes such as confession, the gothic, life-writing and the human-animal binary. It also discusses the role of conflict in shaping the representation of capital punishment, including chapters on the Easter Rising, on World War I, on colonial and quasi-colonial conflict and on World War II. Ebury’s overall approach aims to improve our understanding of the centrality of the death penalty and the role it played in major twentieth century literary movements and historical events.
This new book gives you everything you need to know to get into print. Whether you are seeking an agent or publisher, or have decided to self-publish, it gives you the background information, step-by-step guides and a unique selection of case studies from published authors and insider tips from industry experts. With an exhaustive list of useful addresses and websites, it is an essential manual for any aspiring author. Features contributions from key literary agencies (including Curtis Brown and Pollinger) and top publishing companies (including John Murray and Headline). NOT GOT MUCH TIME? One, five and ten-minute introductions to key principles to get you started. AUTHOR INSIGHTS Lots of instant help with common problems and quick tips for success, based on the author's many years of experience. TEST YOURSELF Tests in the book and online to keep track of your progress. EXTEND YOUR KNOWLEDGE Extra online articles at www.teachyourself.com to give you a richer understanding of getting your book published. FIVE THINGS TO REMEMBER Quick refreshers to help you remember the key facts. TRY THIS Innovative exercises illustrate what you've learnt and how to use it.
Katherine Addison, author of The Goblin Emperor, returns with The Angel of the Crows, a fantasy novel of alternate 1880s London, where killers stalk the night and the ultimate power is naming. This is not the story you think it is. These are not the characters you think they are. This is not the book you are expecting. In an alternate 1880s London, angels inhabit every public building, and vampires and werewolves walk the streets with human beings in a well-regulated truce. A fantastic utopia, except for a few things: Angels can Fall, and that Fall is like a nuclear bomb in both the physical and metaphysical worlds. And human beings remain human, with all their kindness and greed and passions and murderous intent. Jack the Ripper stalks the streets of this London too. But this London has an Angel. The Angel of the Crows. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This morning I found this bag. I had been looking for sweets. I put my hand in the bag and felt a sticky liquid on my fingers, then I looked at it. A red smear. Then I looked in the bag: bloody knives and clothes. It didn't feel good. What did it mean? I don't know. There are no answers; I daren't ask the questions' Growing up in poverty in London's East End, Kathy was eight years old when her father forced her mother into prostitution. When their mother fled, leaving Kathy and her sisters behind, the girls stuck fiercely together while being passed from children's homes to boarding schools. Then, on a rare trip home, Kathy looked out the window to see a man firing four shots into a Rolls-Royce. It took several seconds for her to realise the victim was her mother's lover, and the gunman was her father. Kathy began her haunting memoir when, as an adult, she travelled back to London, to find out who her gangster father really was. A compelling memoir of an extraordinary childhood, Dance for your Daddy is a true story of the effects on one family of poverty and affluence, violence and love.
Kathy was eight years old when her father forced her mother into prostitution. When their mother fled, she and her sisters stuck together passing from children's homes to boarding schools. On a trip home, she realises that her mother's lover was shot by her father. As an adult, she travels to London to find out who her gangster father really was.
A remarkable young woman blazes her own trail, from the backwoods of Russia to the court of Moscow, in the exhilarating sequel to Katherine Arden’s bestselling debut novel, The Bear and the Nightingale. Katherine Arden’s enchanting first novel introduced readers to an irresistible heroine. Vasilisa has grown up at the edge of a Russian wilderness, where snowdrifts reach the eaves of her family’s wooden house and there is truth in the fairy tales told around the fire. Vasilisa’s gift for seeing what others do not won her the attention of Morozko—Frost, the winter demon from the stories—and together they saved her people from destruction. But Frost’s aid comes at a cost, and her people have condemned her as a witch. Now Vasilisa faces an impossible choice. Driven from her home by frightened villagers, the only options left for her are marriage or the convent. She cannot bring herself to accept either fate and instead chooses adventure, dressing herself as a boy and setting off astride her magnificent stallion Solovey. But after Vasilisa prevails in a skirmish with bandits, everything changes. The Grand Prince of Moscow anoints her a hero for her exploits, and she is reunited with her beloved sister and brother, who are now part of the Grand Prince’s inner circle. She dares not reveal to the court that she is a girl, for if her deception were discovered it would have terrible consequences for herself and her family. Before she can untangle herself from Moscow’s intrigues—and as Frost provides counsel that may or may not be trustworthy—she will also confront an even graver threat lying in wait for all of Moscow itself. Praise for The Girl in the Tower “[A] magical story set in an alluring Russia.”—Paste “Arden’s lush, lyrical writing cultivates an intoxicating, visceral atmosphere, and her marvelous sense of pacing carries the novel along at a propulsive clip. A masterfully told story of folklore, history, and magic with a spellbinding heroine at the heart of it all.”—Booklist (starred review) “[A] sensual, beautifully written, and emotionally stirring fantasy . . . Fairy tales don’t get better than this.”—Publishers Weekly (starred review) “[Katherine] Arden once again delivers an engaging fantasy that mixes Russian folklore and history with delightful worldbuilding and lively characters.”—Library Journal
NEW YORK TIMES BESTSELLER • Following their adventures in The Bear and the Nightingale and The Girl in the Tower, Vasya and Morozko return in this stunning conclusion to the bestselling Winternight Trilogy, battling enemies mortal and magical to save both Russias, the seen and the unseen. “A tale both intimate and epic, featuring a heroine whose harrowing and wondrous journey culminates in an emotionally resonant finale.”—Publishers Weekly (starred review) NAMED ONE OF PASTE’S BEST FANTASY BOOKS OF THE DECADE Vasilisa Petrovna is an unforgettable heroine determined to forge her own path. Her gifts and her courage have drawn the attention of Morozko, the winter-king, but it is too soon to know if this connection will prove a blessing or a curse. Now Moscow has been struck by disaster. Its people are searching for answers—and for someone to blame. Vasya finds herself alone, beset on all sides. The Grand Prince is in a rage, choosing allies that will lead him on a path to war and ruin. A wicked demon returns, determined to spread chaos. Caught at the center of the conflict is Vasya, who finds the fate of two worlds resting on her shoulders. Her destiny uncertain, Vasya will uncover surprising truths about herself as she desperately tries to save Russia, Morozko, and the magical world she treasures. But she may not be able to save them all. Praise for The Winter of the Witch “Katherine Arden’s Winternight Trilogy isn’t just good—it’s hug-to-your-chest, straight-to-the-favorites-shelf, reread-immediately good, and each book just gets better. The Winter of the Witch plunges us back to fourteenth-century Moscow, where old gods and new vie for the soul of Russia and fate rests on a witch girl’s slender shoulders. Prepare to have your heart ripped out, loaned back to you full of snow and magic, and ripped out some more.”—Laini Taylor “Luxuriously detailed yet briskly suspenseful . . . a striking literary fantasy informed by Arden’s deep knowledge.”—Kirkus Reviews (starred review)
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.