Chronicles the elusive quality of daily lives in her three characters' lives: the narrator, her lover, Cecile, and Colby, their child.
Chronicles the elusive quality of daily lives in her three characters' lives: the narrator, her lover, Cecile, and Colby, their child.
Have you ever heard of the Strangler Tree? The Bubblegum Tree? The Upside-Down Tree? How about trees with horns, bottles, sausages, crowns, and ones that walk or even explode? Crazy, maybe, but true. Find out more about these, and many others, in this colorfully illustrated collection of the most bizarre—but real—trees from around the world, once again reminding us that the art of nature is far stranger than fiction. The perfect book for inquisitive naturalists with imaginations, Strange Trees also includes a map of the world showing where the trees grew.
Stories Between Us: Oral Histories from a Countercultural Congregation; Plus a Guide to Creating Your Own Oral History Project shares life histories of activist UU elders. The elders are all members of the Berkeley Fellowship of Unitarian Universalists, a locus for social activism. Lisa Rubens of the Regional Oral History Office at UC Berkeley calls the project "a wonderful compendium of social memory and historical documentation." Illustrated by photos, the oral history excerpts also serve as a model for other congregations. The book features a step-by-step guide for creating an intergenerational oral history project similar to the Berkeley Fellowship Project. The book provides guidance about interview techniques, recording methods, project design, volunteer recruitment, and creating a community history celebration. It also includes curricula for six intergenerational story circles.
Short stories, including the adapted-to-film original Cecil and Jordan in New York Gabrielle Bell splits her cartooning time between creating wry sketchbook autobiographical comics, such as those included in her 2006 graphic novel, Lucky, and working on more detailed fictional short stories. This collection represents her short comics work that has been published in various anthologies over the past five years, including Kramer's Ergot, Mome, and The D+Q Showcase Book Four. The surrealist title story, in which a young woman turns herself into a chair so as not to be too much of a bother to those around her, is being adapted into a short film, Interior Design, by director Michel Gondry (Eternal Sunshine of the Spotless Mind and The Science of Sleep) as part of the forthcoming Tôkyô! trilogy set for fall 2008 release.
Every year on the Fourth of July, Jeeters wife Lou struts in the town parade wearing suspenders made of jumper cables with a tow chain around her waist. Those in the knowwhich means everyone in townchuckle at Lous silent commentary on her husbands skill as an automotive mechanic. But Jeeter has a different perspective: Thats my wife right there, he tells a stranger. She knows cars. Author Bill Schubart brings to life the friends and characters of his native Lamoille County, where in the late 1950s and early 1960s, life was lived close to the earth and often against the grain. Schubarts collection of twenty-two stories captures Vermont in its transition from an enclave of hill farms and small towns where everyone knew your grandfather to a place where vehicles bearing license plates from away mix with hippie vans filled with born-again Vermonters getting back to the land]until snowfall. Its a time and place where the Jeeters of The Lamoille Stories rub elbows with the ladies of the Uplift Club, all to the fiddle accompaniment of Qubcois music played by people whose conversations often weave French and English together in a single sentence. Schubarts full-hearted and compassionate evocation of this Vermont is by turns poignant, funny and savory. The stories give readers a good excuse to stay up too late to discover how Wyvis will circumvent the new Vermont prohibition on having more than three junk cars in your yard or how Charlie is going to get Edgar to pay him for his new chimney. Schubarts thoroughly enjoyable short story collection is as finely etched as the frost crystals on your winter window. Amusez-vous bien! Bill Schubarts Vermont stories of a mostly-forgotten time and place arefresh, authentic, funny in places and sad in others. He knows his corner of the Green Mountains inside out and writes with honesty and grace about its people. Howard Frank Mosher, author of Disappearances, Mary Blythe, and On Kingdom Mountain
"Willa Cather's Transforming Vision: New France and the American Northeast explores Cather's search for meaning and a domestic center, in particular as her search was influenced by her feelings for New France and the American Northeast. Including biography, critical overview, and primary research into both Cather's writing and some of her most unusual historical sources, this study focuses on Shadows on the Rock, while incorporating this pivotal novel into the larger pattern of Cather's growing need for belonging and order." "Shadows on the Rock, set in the city of Quebec ("Kebec") at the end of the seventeenth century, is Cather's fullest expression of love for French culture and its adaptation to New World soil. But more than a mere extolling of what Mme. Auclair in Shadows proudly calls "our way" - a skill with all things domestic that, she boasts, renders the French "the most civilized people in Europe" - this novel is a statement of faith in the ability of both individuals and larger societal orders to work together for the creation of an all-encompassing whole. Writing at mid-life, after the recent illnesses and deaths of her parents, Cather could posit in her story of New France a familial order much larger than the domestic heart of her earlier masterpiece, My Antonia. In all of Quebec, as in the incomplete but fruitful home of the widowed apothecary Euclide Auclair and his daughter Cecile, life is sustained by a merging of gender and social roles, as a bishop can become the symbolic head of an entire church as well as of a troubled family, and a bellicose count can play as warm and nurturing a role as the gentlest of parents."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
What makes Willa Cather such an anomaly in American literature, and why are her late fictions so rarely read in high school and university classrooms? What is it exactly that renders them unclassifiable in the prevailing critical assessments of Cather's work? Why, in other works are these writings so difficult to interpret? Deborah Carlin addresses these and other questions by examining the ways in which certain reading communities have placed--or, more often, ignored--Cather's complex and unsettling post-1925 fiction within canonical formulations. Employing interpretive strategies drown from narratology, feminism, and deconstruction, Carlin focuses on five female-centered late fictions; My Mortal Enemy (1926), Shadows on the Rock (1931), "Old Mrs. Harris" in Obscure Destinies (1932), $ (1935), and Sapphira and the Slave Girl (1940). She argues that Cather's later works have been largely overlooked for two reasons: they confound reader expectations by revising conventional fictional forms; and they raise troubling questions about race, class, sexuality, and power, especially with regard to women. What makes Carlin's work distinctive, besides its focus on Cather's most problematic writings, is its theoretical approach to issues of narrative and gender. Rather than chart Cather's intellectual biography through the texts, as others have done, Carlin shows how the late fictions reflect self-conscious experimentation with narrative form and, at the same time, reveal ambiguous, sometimes contradictory, feminist impulses.
An anthology of literary essays focusing on the ways in which sexual, emotional, physical, racial, and other forms of violence have affected women artists' imaginations.
The Yard Sale Caper and Other Stories is a charming collection of stories featuring the adventures and exploits of an older couple, Henry and Lola. Both are retired schoolteachers who are also aspiring authors, always in search of new material for the stories they write.
We are familiar with its symptoms: hot flashes, night sweats, and more. While menopause triggers physical changes, it also brings forth spiritual issues that, for many women, mark a redefinition of the feminine self. To address the impact of menopause, Gabriele Kushi has created a practical guide to dealing with this special time. The author first provides a clear understanding of the overall process of menopause, from biological changes to emotional challenges. She then offers research-based nutritional guidelines that can help relieve menopausal symptoms, as well as healthful kitchen-tested recipes based on a natural foods diet. However, it is the stories and portraits of twenty menopausal women that are the heart and soul of the book. Here is a true companion for any woman who wants to nurture her own spiritual growth, adopt a natural foods diet, and enjoy good health throughout the midlife years.
Martin Green is a retiree/free-lance writer living in Roseville, California. In 1991, the year after he retired, he started writing articles for a weekly alternative newspaper in Sacramento, Suttertown News.. In the same year, he began free-lancing for the Neighbors section of the Sacramento Bee, Since 2000, he’s been writing for a monthly newspaper, the Sun Senior News, and currently does two monthly features, “Observations” and “Favorite Restaurants.” In addition to his journalism, Martin has had over 250 short stories published in online magazines and has self-published three collections of these stories (2006, 2007 and 2008) as well as a longer work, “One Year in Retirement” (2009), a collection of his “Observations” (2010) and a book called “Potpourri,” (2011), containing short stories, a year and a half of “Observations,” and “Last Words,” essays “On Growing Old,” “On Writing,” “On Reading,” and “On Travel.” This book contains a novelette, “A Life: Phase One” and 28 short stories published online since “Potpourri.” The novelette follows the adventures of a young man returning from the Army in the 1950’s to New York, where he wants to get a job, find a girl and a place of his own to live in. Simple enough goals, but as he finds out, life is not that simple and complications ensue, including leaving New York and going West to San Francisco. Martin has been married to Beverly 47 years, has three sons (David, Michael and Christopher), three grandsons (Mason, Morgan and Logan), one granddaughter (Stephanie) and two cats (Bun-Bun and Shandyman). “Martin Green’s stories always ring true for me. His characters are real people. Whenever I finish reading one of Martin’s stories I feel I’ve just spent time with an old friend.” ---Julie Larson, Editor, Storystar
In Career Stories, Juliette Rogers considers a body of largely unexamined novels from the Belle &Époque that defy the usual categories allowed the female protagonist of the period. While most literary studies of the Belle &Époque (1880&–1914) focus on the conventional housewife or harlot distinction for female protagonists, the heroines investigated in Career Stories are professional lawyers, doctors, teachers, writers, archeologists, and scientists. In addition to the one well-known woman writer from the Belle &Époque, Colette, this study will expand our knowledge of relatively unknown authors, including Gabrielle Reval, Marcelle Tinayre, and Colette Yver, who actively participated in contemporary debates on women's possible roles in the public domain and in professional careers during this period. Career Stories seeks to understand early twentieth century France by examining novels written about professional women, bourgeois and working-class heroines, and the particular dilemmas that they faced. This book contributes a new facet to literary histories of the Belle &Époque: a subgenre of the bildungsroman that flourished briefly during the first decade of the twentieth century in France. Rogers terms this subgenre the female berufsroman, or novel of women's professional development. Career Stories will change the way we think about the Belle &Époque and the interwar period in French literary history, because these women writers and their novels changed the direction that fiction writing would take in post-World War I France.
By Cecile depicts post-World War II France as it reels from war and recovery. In Paris, an orphan girl, Cecile, finds refuge with an older man. He introduces her to nightclubs, intellectuals, artists (Jean Cocteau, Jean-Paul Sartre, and Eartha Kitt!), and non-monogamy. When she falls for his mistress, she begins to live a life she deems worthy of writing about . . . but only under the pseudonym of her husband. Femmes Fatales restores to print the best of women’s writing in the classic pulp genres of the mid-20th century. From mystery to hard-boiled noir to taboo lesbian romance, these rediscovered queens of pulp offer subversive perspectives on a turbulent era. Enjoy the series: Bedelia; Bunny Lake Is Missing; By Cecile; The G-String Murders; The Girls in 3-B; Laura; The Man Who Loved His Wife; Mother Finds a Body; Now, Voyager; Return to Lesbos; Skyscraper; Stranger on Lesbos; Stella Dallas; Women's Barracks.
An eerie collection of ghost stories in Alberta, from urban centres to rural areas and the Rocky Mountains.
In urban studies, the nineteenth century is the "age of great cities." In feminist studies, it is the era of the separate domestic sphere. But what of the city's homes? In the course of answering this question, Apartment Stories provides a singular and radically new framework for understanding the urban and the domestic. Turning to an element of the cityscape that is thoroughly familiar yet frequently overlooked, Sharon Marcus argues that the apartment house embodied the intersections of city and home, public and private, and masculine and feminine spheres. Moving deftly from novels to architectural treatises, legal debates, and popular urban observation, Marcus compares the representation of the apartment house in Paris and London. Along the way, she excavates the urban ghost tales that encoded Londoners' ambivalence about city dwellings; contends that Haussmannization enclosed Paris in a new regime of privacy; and locates a female counterpart to the flâneur and the omniscient realist narrator—the portière who supervised the apartment building.