As Nick's suburban family loses control over their world, Nick begins to learn his grandfather's buried secrets and comes to understand the power of old wounds to leak into the present. As a study of the power of memory and loss, Another World conveys with extraordinary intensity the ways in which the violent past returns to haunt and distort the present.

    The stories in this volume first appeared in book for in A Book in 1923, a new edition of which was published in 1929 under the title A Night Among Horses."There is no denying that the prose sounds magnificent--the best that art and a meticulous poetic ear can produce." -Times Literary Supplement"An impressive story ('Aller et Retour') with a cruel visual wit and a dialogue curiously precise and suggestive, like the imagery of a Jacobean dramatist." -Graham Greene"'The Passion' is beautiful stuff." -Ford Maddox Ford

    In lucid, persuasive prose, Brownmiller has created a definitive, devastating work of lasting social importance.Chosen by THE NEW YORK TIMES BOOK REVIEW as One of the Outstanding Books of the Year

    Funny, passionate, and compelling prose on what it means to be queer and happy about it in a world that is still arguing about what it means to be queer.

    Her guilt-plagued mother cannot accept her daughter's deafness. Grania's saving grace is her grandmother Mamo, who tries to teach Grania to read and speak again. Grania's older sister, Tress, is a beloved ally as well-obliging when Grania begs her to shout words into her ear canals and forging a rope to keep the sisters connected from their separate beds at night when Grania fears the terrible vulnerability that darkness brings. When it becomes clear that she can no longer thrive in the world of the hearing, her family sends her to live at the Ontario School for the Deaf in Belleville, where, protected from the often-unforgiving hearing world outside, she learns sign language and speech.After graduation Grania stays on to work at the school, and it is there that she meets Jim Lloyd, a hearing man. In wonderment the two begin to create a new emotional vocabulary that encompasses both sound and silence. But just two weeks after their wedding, Jim must leave home to serve as a stretcher bearer on the blood-soaked battlefields of Flanders.During this long war of attrition, Jim and Grania's letters back and forth-both real and imagined-attempt to sustain their young love in a world as brutal as it is beautiful. Frances Itani's depiction of a world where sound exists only in the margins is a singular feat in literary fiction, a place difficult to leave and even harder to forget. A magnificent tale of love and war, Deafening is finally an ode to language-how it can console, imprison, and liberate, and how it alone can bridge vast chasms of geography and experience.

    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." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed 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 where today's "toxic girls" could devise a new feminist discourse, 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 - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female 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." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    is a passionate assertion of the futility of war' (the Spectator). Its author had been an actress and suffragette; after 1914 she worked at the Scottish Women's Hospital at Royaumont and organised Concerts at the Front. William - an Englishman was written in a tent within sound of guns and shells; this 'stunning... terrifically good' novel (Radio 4's A Good Read) is in one sense a very personal book, animated by fury and cynicism, and in another a detached one; yet is always 'profoundly moving' (Financial Times).In the view of Persephone Books, William is one of the greatest novels about war ever written: not the war of the fighting soldier or the woman waiting at home, but the war encountered by Mr and Mrs Everyman, wrenched away from their comfortable preoccupations - Socialism, Suffragettism, so gently mocked by Cicely Hamilton - and forced to be part of an almost dream-like horror (because they cannot at first believe what is happening to them). The scene when William and Griselda emerge after three idyllic weeks in a honeymoon cottage in the remote hills of the Belgian Ardennes, and encounter German brutality in a small village, is unforgettable. The book, which won the Prix Femina-Vie Heureuse in 1919, is a masterpiece, written with an immediacy and a grim realism reminiscent of an old-fashioned, flickering newsreel.

    This novel of an enclosed world invaded by public events also embodies in its characters the shifts in England's class structures at the beginning of the twentieth century.

    The Passion is perhaps her most highly acclaimed work, a modern classic that confirms her special claim on the novel. Set during the tumultuous years of the Napoleonic Wars, The Passion intertwines the destinies of two remarkable people: Henri, a simple French soldier, who follows Napoleon from glory to Russian ruin; and Villanelle, the red-haired, web-footed daughter of a Venetian boatman, whose husband has gambled away her heart. In Venice’s compound of carnival, chance, and darkness, the pair meet their singular destiny.In her unique and mesmerizing voice, Winterson blends reality with fantasy, dream, and imagination to weave a hypnotic tale with stunning effects.

    Blending radical formal fluidity and caustic humor, Mean turns what might be tragic into piercing, revealing comedy. This is a confident, funny, brassy book that takes the cost of sexual assault, racism, misogyny, and homophobia deadly seriously.We act mean to defend ourselves from boredom and from those who would cut off our breasts. We act mean to defend our clubs and institutions. We act mean because we like to laugh. Being mean to boys is fun and a second-wave feminist duty. Being mean to men who deserve it is a holy mission. Sisterhood is powerful, but being mean is more exhilarating.Being mean isn't for everybody.Being mean is best practiced by those who understand it as an art form.These virtuosos live closer to the divine than the rest of humanity. They're queers.Myriam Gurba is a queer spoken-word performer, visual artist, and writer from Santa Maria, California. She's the author of Dahlia Season (2007, Manic D) which was a finalist for the Lambda Literary Award, Wish You Were Me (2011, Future Tense Books), and Painting Their Portraits in Winter (2015, Manic D). She has toured with Sister Spit and her work has been exhibited at the Museum of Latin American Art in Long Beach. She lives in Long Beach, where she teaches social studies to eighth-graders.

    How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.

    A woman's journey ended at the altar. Professor Heilbrun notes that the diversity of women's lives now makes it possible for women to dare to choose their own scripts.

    Caroline, the novel's protagonist, returns to New York after the death of her father ostensibly to wrap things up and take care of necessary "business" where her memory and imagination conspire to lay before her all her griefs and joys in a rebellious progression. In different voices, employing a collage-like fragmentation, Maso gently unfolds The Art Lover in much the same way the fragile and prehistoric fiddlehead fern unfolds throughout the novel, bringing with subtle grace the ever-entangled feelings of grief and love into full and tender view. Various illustrations throughout.

    I loved this book!"--Boswell Book Company (staff pick)"Unmentionables starts small and expands to touch Chicago and war-torn France as Laurie Loewenstein weaves multiple points of view together to create a narrative of social change and the stubbornness of the human heart."-- Black Heart Magazine "A historical, feminist romance in the positive senses of all three terms: a realistic evocation of small-town America circa 1917, including its racial tensions; a tale about standing up for the equitable treatment of women; and a story about two lonely people who overcome obstacles, including their own character defects, to find love together."-- Milwaukee Journal Sentinel , "96 Books For Your Summer Reading List"Marian Elliot Adams, an outspoken advocate for sensible undergarments for women, sweeps onto the Chautauqua stage under a brown canvas tent on a sweltering August night in 1917, and shocks the gathered town of Emporia with her speech: How can women compete with men in the work place and in life if they are confined by their undergarments? The crowd is further appalled when Marian falls off the stage and sprains her ankle, and is forced to remain among them for a week. As the week passes, she throws into turmoil the town's unspoken rules governing social order, women, and Negroes. The recently widowed newspaper editor Deuce Garland, his lapels glittering with fraternal pins, has always been a community booster, his desire to conform rooted in a legacy of shame--his great-grandfather married a black woman, and the town will never let Deuce forget it, especially not his father-in-law, the owner of the newspaper and Deuce's boss. Deuce and his father-in-law are already at odds, since the old man refuses to allow Deuce's stepdaughter, Helen, to go to Chicago to fight for women's suffrage.But Marian's arrival shatters Deuce's notions of what is acceptable, versus what is right, and Deuce falls madly in love with the tall activist from New York. During Marian's stay in Emporia, Marian pushes Deuce to become a greater, braver, and more dynamic man than he ever imagined was possible. He takes a stand against his father-in-law by helping Helen escape to Chicago; and he publishes an article exposing the county's oldest farm family as the source of a recent typhoid outbreak, risking his livelihood and reputation. Marian's journey takes her to the frozen mud of France's Picardy region, just beyond the lines, to help destitute villagers as the Great War rages on. Helen, in Chicago, is hired as a streetcar conductor surrounded by bitter men who resent her taking a man's job. Meanwhile, Deuce struggles to make a living and find his place in Emporia's wider community after losing the newspaper.Marian is a powerful catalyst that forces nineteenth-century Emporia into the twentieth century; but while she agitates for enlightenment and justice, she has little time to consider her own motives and her extreme loneliness. Marian, in the end, must decide if she has the courage to face small-town life, and be known, or continue to be a stranger always passing through.

    In this classic work, now back in print, Olsen broke open the study of literature and discovered a lost continent—the writing of women and working-class people. From the excavated testimony of authors’ letters and diaries we learn the many ways the creative spirit, especially in those disadvantaged by gender, class and race, can be silenced. Olsen recounts the torments of Melville, the crushing weight of criticism on Thomas Hardy, the shame that brought Willa Cather to a dead halt, and struggles of Virginia Woolf, Olsen’s heroine and greatest exemplar of a writer who confronted the forces that would silence her. This 25th-anniversary edition includes Olsen’s now infamous reading lists of forgotten authors and a new introduction and author preface.