Mostrando resultados por autor "Maggie Nelson -foreword" en Todas las categorías

Suppose I were to begin by saying that I had fallen in love with a color.... Since 2009, when it first published, to today, Bluets has drawn scores of readers and listeners with its surprising insights into the emotional depths that make us most human - via 240 short pieces, at once lyrical and philosophical, on the color blue. This new edition celebrates Maggie Nelson’s uncompromising vision, inviting longtime fans and newcomers alike to experience and share in an indispensable work that continues to disrupt the literary landscape.

Maggie Nelson's The Argonauts is a genre-bending memoir, a work of "autotheory" offering fresh, fierce, and timely thinking about desire, identity, and the limitations and possibilities of love and language. At its center is a romance: the story of the author's relationship with the artist Harry Dodge. This story, which includes Nelson's account of falling in love with Dodge, who is fluidly gendered, as well as her journey to and through a pregnancy, is an intimate portrayal of the complexities and joys of (queer) family making.

A chilling genre-busting memoir by a major American essayist. Late in 2004, Maggie Nelson was looking forward to the publication of her book, Jane: A Murder, a narrative in verse about the life and death of her aunt, who had been murdered 35 years before. The case remained unsolved, but Jane was assumed to have been the victim of an infamous serial killer in Michigan in 1969.

Pathemata, Or, The Story of My Mouth is an experiment in interiority written in the pandemic studio. Something of a companion piece to 2009’s Bluets, Pathemata merges a pain diary chronicling a decade of jaw pain with dreams and dailies, eventually blurring the lines between embodied, unconscious, and everyday life.

Today both reality and entertainment crowd our fields of vision with brutal imagery. The pervasiveness of images of torture, horror, and war has all but demolished the 20th-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away? Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel.

Like Love is a momentous, raucous collection of essays drawn from twenty years of Maggie Nelson's brilliant work. These profiles, reviews, remembrances, tributes, and critical essays, as well as several conversations with friends and idols, bring to life Nelson's passion for dialogue and dissent. The range of subjects is wide—from Prince to Carolee Schneemann to Matthew Barney to Lhasa de Sela to Kara Walker—but certain themes recur.

So often deployed as a jingoistic, even menacing rallying cry, or limited by a focus on passing moments of liberation, the rhetoric of freedom both rouses and repels. Does it remain key to our autonomy, justice, and well-being, or is freedom's long star turn coming to a close? Does a continued obsession with the term enliven and emancipate, or reflect a deepening nihilism (or both)? On Freedom examines such questions by tracing the concept's complexities in four distinct realms: art, sex, drugs, and climate.

Moored in a coastal fishing town so far north that the highways only run south, the unnamed narrator of The Seas is a misfit. She's often the subject of cruel local gossip. Her father, a sailor, walked into the ocean 11 years earlier and never returned, leaving his wife and daughter to keep a forlorn vigil. Surrounded by water and beckoned by the sea, she clings to what her father once told her: that she is a mermaid.

An intrepid voyage out to the frontiers of the latest thinking about love, language, and family. A timely and genre-bending memoir that offers fresh and fierce reflections on motherhood, desire, identity and feminism. At the centre of The Argonauts is the love story between Maggie Nelson and the artist Harry Dodge, who is fluidly gendered. As Nelson undergoes the transformations of pregnancy, she explores the challenges and complexities of mothering and queer family making.

So often deployed as a jingoistic, even menacing, rallying cry, or limited by a focus on passing moments of liberation, the rhetoric of freedom both rouses and repels. Does it remain key to our autonomy, justice and wellbeing, or is freedom's long star turn coming to a close? Does a continued obsession with the term enliven and emancipate, or reflect a deepening nihilism (or both)? On Freedom examines such questions by tracing the concept's complexities in four distinct realms: art, sex, drugs and climate.

In The Slicks, Maggie Nelson positions culture-dominating pop superstar Taylor Swift and feminist cult icon Sylvia Plath as twin hosts of the female urge toward wanting hard, working hard, and pouring forth―and as twinned targets of patriarchy’s ancient urge to disparage, trivialize, and discipline creative work by women rooted in autobiography and abundance.

Like Love is a momentous, raucous collection of essays drawn from twenty years of Maggie Nelson's brilliant work. These profiles, reviews, remembrances, tributes and critical essays, as well as several conversations with friends and idols, bring to life Nelson's passion for dialogue and dissent. Arranged chronologically, Like Love shows the writing, thinking, feeling, reading, looking and conversing that occupied Nelson while writing iconic books such as Bluets and The Argonauts.

Maggie Nelson's The Argonauts is a genre-bending memoir, a work of "autotheory" offering fresh, fierce, and timely thinking about desire, identity, and the limitations and possibilities of love and language. At its center is a romance: the story of the author's relationship with the artist Harry Dodge. This story, which includes Nelson's account of falling in love with Dodge, who is fluidly gendered, as well as her journey to and through a pregnancy, is an intimate portrayal of the complexities and joys of (queer) family-making.

Libertà è fare quel che si vuole. Libertà è non calpestare la libertà altrui. Libertà è non avere leggi. Libertà è piegarsi come un giunco ai casi della vita. Libertà è scegliere. Libertà è rinunciare. Qual è il confine tra me e te? Tra me e noi? Dove finisce l’amore per se stessi e inizia l'amore per l’altro? È il 1994. Maggie Nelson è nel pieno di un vortice di alcolismo; seduta con una sigaretta in bocca e una bottiglia di Jim Beam in mano su una scala antincendio dell’Upper East Side, si chiede quale sia il rapporto tra libertà e dipendenza da sostanze.

Grad school pals look at hot topics and breakdown the components everyone assumes you know!

So often deployed as a jingoistic, even menacing rallying cry, or limited by a focus on passing moments of liberation, the rhetoric of freedom both rouses and repels. Does it remain key to our autonomy, justice, and well-being, or is freedom's long star turn coming to a close? Does a continued obsession with the term enliven and emancipate, or reflect a deepening nihilism (or both)? On Freedom examines such questions by tracing the concept's complexities in four distinct realms: art, sex, drugs, and climate.

Merging dreams and dailies, Pathemata recounts the narrator’s tragicomic search to alleviate her suffering, a search that eventually becomes a reckoning with various forms of loss – the loss of intimacy, the loss of her father and the loss of a pivotal friend and mentor. In exacting, distilled prose, her account blurs the lines between embodied, unconscious and everyday life.