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Ink of Melancholy re-examines and re-evaluates William Faulkner's work from the late 1920s to the early 1940s, one of his most creative periods. Rather than approach Faulkner's fiction through a prefabricated grid, André Bleikasten concentrates on the texts themselves—on the motivations and circumstances of their composition, on the rich array of their themes, structures, textures, points of emphasis and repetition, as well as their rifts and gaps—while drawing on the resources of philosophy, psychoanalysis, anthropology. Brilliant in its thought and argument, Ink of Melancholy is one of the most insightful and stimulating studies of Faulkner's work.
What does it mean to be working-class in a middle-class world? Cynthia Cruz shows us how class affects culture and our mental health and what we can do about it -- calling not for assimilation, but for annihilation. To be working-class in a middle-class world is to be a ghost. Excluded, marginalised, and subjected to violence, the working class is also deemed by those in power to not exist. We are left with a choice between assimilation into middle-class values and culture, leaving our working-class origins behind, or total annihilation. In The Melancholia of Class, Cynthia Cruz analyses how this choice between assimilation or annihilation has played out in the lives of working-class musicians, artists, writers, and filmmakers — including Amy Winehouse, Ian Curtis, Jason Molina, Barbara Loden, and many more — and the resultant Freudian melancholia that ensues when the working-class subject leaves their origins to “become someone,” only to find that they lose themselves in the process. Part memoir, part cultural theory, and part polemic, The Melancholia of Class shows us how we can resist assimilation, uplifting and carrying our working-class origins and communities with us, as we break the barriers of the middle-class world. There are so many of us, all of us waiting. If we came together, who knows what we could do.
A woman who dreams of machines. A paper lantern that falls in love. The most compelling video game you’ve never played and that nobody can ever play twice. This collection of Catherynne M. Valente’s stories and poems with Japanese themes includes the lauded novella “Silently and Very Fast,” the award-nominated “Thirteen Ways of Looking at Space/Time,” and “Ghosts of Gunkanjima”—which originally appeared in a book smaller than your palm, published in a limited edition of twenty-four. Also included are two new stories: the semiautobiographical, metafictional, and utterly magical “Ink, Water, Milk” and the cinematic, demon-haunted “Story No. 6.” -- VIZ Media
New York Times Critics’ Best of the Year A landmark event, the complete stories of Machado de Assis finally appear in English for the first time in this extraordinary new translation. Widely acclaimed as the progenitor of twentieth-century Latin American fiction, Machado de Assis (1839–1908)—the son of a mulatto father and a washerwoman, and the grandson of freed slaves—was hailed in his lifetime as Brazil’s greatest writer. His prodigious output of novels, plays, and stories rivaled contemporaries like Chekhov, Flaubert, and Maupassant, but, shockingly, he was barely translated into English until 1963 and still lacks proper recognition today. Drawn to the master’s psychologically probing tales of fin-de-siècle Rio de Janeiro, a world populated with dissolute plutocrats, grasping parvenus, and struggling spinsters, acclaimed translators Margaret Jull Costa and Robin Patterson have now combined Machado’s seven short-story collections into one volume, featuring seventy-six stories, a dozen appearing in English for the first time. Born in the outskirts of Rio, Machado displayed a precocious interest in books and languages and, despite his impoverished background, miraculously became a well-known intellectual figure in Brazil’s capital by his early twenties. His daring narrative techniques and coolly ironic voice resemble those of Thomas Hardy and Henry James, but more than either of these writers, Machado engages in an open playfulness with his reader—as when his narrator toys with readers’ expectations of what makes a female heroine in “Miss Dollar,” or questions the sincerity of a slave’s concern for his dying master in “The Tale of the Cabriolet.” Predominantly set in the late nineteenth-century aspiring world of Rio de Janeiro—a city in the midst of an intense transformation from colonial backwater to imperial metropolis—the postcolonial realism of Machado’s stories anticipates a dominant theme of twentieth-century literature. Readers witness the bourgeoisie of Rio both at play, and, occasionally, attempting to be serious, as depicted by the chief character of “The Alienist,” who makes naively grandiose claims for his Brazilian hometown at the expense of the cultural capitals of Europe. Signifiers of new wealth and social status abound through the landmarks that populate Machado’s stories, enlivening a world in the throes of transformation: from the elegant gardens of Passeio Público and the vibrant Rua do Ouvidor—the long, narrow street of fashionable shops, theaters and cafés, “the Via Dolorosa of long-suffering husbands”—to the port areas of Saúde and Gamboa, and the former Valongo slave market. One of the greatest masters of the twentieth century, Machado reveals himself to be an obsessive collector of other people’s lives, who writes: “There are no mysteries for an author who can scrutinize every nook and cranny of the human heart.” Now, The Collected Stories of Machado de Assis brings together, for the first time in English, all of the stories contained in the seven collections published in his lifetime, from 1870 to 1906. A landmark literary event, this majestic translation reintroduces a literary giant who must finally be integrated into the world literary canon.
When most people think that “little girls should be seen and not heard,” a noisy, riotous scream can be revolutionary. But that’s not the case anymore. (Cis/Het/White) Girls aren’t supposed to be virginal, passive objects, but Poly-Styrene-like sirens who scream back in spectacularly noisy and transgressive ways as they “Lean In.” Resilience is the new, neoliberal feminine ideal: real women overcome all the objectification and silencing that impeded their foremothers. Resilience discourse incites noisy damage, like screams, so that it can be recycled for a profit. It turns the crises posed by avant-garde noise, feminist critique, and black aesthetics into opportunities for strengthening the vitality of multi-racial white supremacist patriarchy (MRWaSP). Reading contemporary pop music – Lady Gaga, Beyonce, Calvin Harris – with and against political philosophers like Michel Foucault, feminists like Patricia Hill Collins, and media theorists like Steven Shaviro, /Resilience & Melancholy/ shows how resilience discourse manifests in both pop music and in feminist politics. In particular, it argues that resilient femininity is a post-feminist strategy for producing post-race white supremacy. Resilience discourse allows women to “Lean In” to MRWaSP privilege because their overcoming and leaning-in actively produce blackness as exception, as pathology, as death. The book also considers alternatives to resilience found in the work of Beyonce, Rihanna, and Atari Teenage Riot. Updating Freud, James calls these pathological, diseased iterations of resilience “melancholy.” Melancholy makes resilience unprofitable, that is, incapable of generating enough surplus value to keep MRWaSP capitalism healthy. Investing in the things that resilience discourse renders exceptional, melancholic siren songs like Rihanna’s “Diamonds” steer us off course, away from resilient “life” and into the death.
Mandred Wood may have caught a glint off the Bowie knife that sank into his belly--but probably not. On the afternoon of November 11, 1837, he had exchanged "harsh epithets" with David James Jones, a hero of the Texas Revolution. When words failed, Jones closed the argument with his blade. Such affrays were common in Houston, the fledgling capital of the Republic of Texas. This one, however, was singular. Wood was a gentleman and Jones a member of a disruptive gang of vagrants that the upper crust denounced as the "rowdy loafers." Jones went to jail; Wood went to his grave. In the weeks that followed, the killing resounded throughout the squalid, verminous city that one resident described as the "most miserable place in the world." Stephen L. Hardin's suspenseful and witty narrative reads like a contemporary page-turner, yet all is carefully documented history. He entwines the murder into the story of the sordid city like the strands of a hangman's rope. It is an astonishing tale peopled by remarkable characters: the one-armed newspaper editor and political candidate who employs the crime to advance his sanctimonious agenda; the Kentucky lawyer who enjoys champagne breakfasts and collecting human skulls; the German immigrant who sees rats gnaw the finger off an infant lying in his cradle; the Alamo widow whose circumstances force her to practice the oldest profession; the sociopathic physician who slaughters an innocent man in a duel; the Methodist minister horrified by the drunken debaucheries of government officials; and the president himself--the Sword of San Jacinto-- who during a besotted bacchanal strips to his underwear. Skillfully conceived and masterfully written, Texian Macabre: A Melancholy Tale of a Hanging in Early Houston will transport readers to a lost time and place.
Death arrives in this darkly humorous and brilliantly illustrated tale created by Nicholas Gurewitch, author of The Perry Bible Fellowship Almanack! Death becomes a patient of a recently-bereaved psychoanalyst. The topic of discussion? His frolicsome child, who has no apparent interest in grim-reaping! Featuring an unfathomable number of lines which have been hand-chiseled into inked clay, this labor of love by Nicholas Gurewitch invokes the morbid humor of his comic strip (The Perry Bible Fellowship) and the spooky silent-film qualities of the late Edward Gorey.
From Tony Award-winning playwright Tom Stoppard, Indian Ink is a rich and moving portrait of intimate lives set against one of the great shafts of history—the emergence of the Indian subcontinent from the grip of Europe. The play follows free-spirited English poet Flora Crewe on her travels through India in the 1930s, where her intricate relationship with an Indian artist unfurls against the backdrop of a country seeking its independence. Fifty years later, in 1980s England, her younger sister Eleanor attempts to preserve the legacy of Flora’s controversial career, while Flora’s would-be biographer is following a cold trail in India. Fresh from the critically acclaimed off-Broadway performance in 2014, Indian Ink is reemerging as an important part of Stoppard’s oeuvre and the global dramatic canon, a fascinating, time-hopping masterwork.
The Bronte siblings—Charlotte, Branwell, Emily and Anne—find escape from their constrained lives via their rich imaginations. The glittering world of Verdopolis and the romantic and melancholy world of Gondal literally come to life under their pens, offering the sort of romance and intrigue missing from their isolated parsonage home. But at what price? As Branwell begins to descend into madness and the sisters feel their real lives slipping away, they must weigh the cost of their powerful imaginations, even as the characters they have created—the brooding Rogue and dashing Duke of Zamorna—refuse to let them go. Gorgeously written and based on the Brontes’ juvenilia, Worlds of Ink and Shadow brings to life one of history’s most celebrated literary families in a thrilling, suspenseful fantasy.
A neoteric collection of poetry and prose about growth exploring the dualities of identity, desire, sexuality, and manifestations of the ego. Structured as a poetic symphony, the book further invokes passionate musings of pain and time. Featuring complementary ink illustrations from up-and-coming artist Michael Barr Waltz, the book dissects provocative and existential motifs of life as seen and experienced through the eyes and body of a young lover. The collection is divided into five distinct movements symbolizing different periods of growth and reflection - Overture, Clavier Sonata, Scarlet Suite, Pathétique Lamentoso, Coda - that are used to underscore and amplify a visceral narrative.