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From the author of A Hopeless Romantic and Going Home comes an engaging new novel about a young woman who suffers loss and heartbreak—only to regain a chance at happiness when she least expects it. Thirty-year-old Kate Miller fled London two years ago when her life fell apart spectacularly. Living in New York with her mother and stepfather and working half-heartedly as a literary agent, Kate must return to London when her father, a famous classical musician, undergoes a kidney transplant. She’s only returning for a short visit, or so she thinks. But once in London, she faces the friends who are bound with her forever as a result of one day when life changed for all of them. What really happened before Kate left London? And can she pick up the pieces and allow herself to love her own life again? Witty, smart, and entertaining, Evans’s heartwarming tale, which was a bestseller in the United Kingdom earlier this year, will delight readers who enjoy novels by Cathy Kelly, Hester Browne, and Marian Keyes.
This is the first comprehensive primer for classroom use that shows students how to do fan studies in practical terms. With contributions from a range of established and emerging scholars, coeditors Paul Booth and Rebecca Williams pull together case studies that demonstrate the wide array of methodologies available to fan studies scholars, such as auto/ethnography, immersion, interviews, online data mining, historiography, and textual analysis.
In A Time of One’s Own Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists’ engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism al...
An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays...
This book looks at three different kinds of writing practice - theory-fiction, autofiction/autotheory and art writing - that are increasingly prevalent as genres (or ‘hybrid genres’) in the arts and critical humanities. The chapters in the book operate as a critical survey of these new forms of writing (many examples are listed) whilst at the same time they each work towards some provisional definitions. Some key precursors to these new genres are also identified. The book explores what these new kinds of writing do. What is particular to them or what do they add to those already existing styles and genres (and especially the academic essay and article)? Key here is that each form of writing works in a performative manner or as a device that enables a shift in perspective. A case is made for their urgency in relation to contemporary issues and concerns and for their importance in terms of being both from and for more marginalised communities. The book concludes with a discussion of machine writing and especially our collaboration with artificial intelligence language models.
Bringing together a group of untimely, queerly-oriented writers - Dorothy Macardle, Kate O'Brien, Elizabeth Bowen and Molly Keane - this book unsettles the conventional narratives of modern Irish culture. Despite attempts to impose a linear narrative of progress, feel-good accounts are clearly inadequate to the realities of contemporary Ireland. Guided by a queer refusal to move on from bad feelings, Naoise Murphy disrupts common-sense narratives of modernisation, gender, sexuality and race in the postcolonial state. Lingering with unease and discomfort in the work of mid-twentieth-century women writers and the spaces they occupied, this book pays close attention to inadmissible feelings of loss, anxiety, hauntedness and melancholia. By embracing discomfort, it moves towards a less idealising form of queer studies that is more responsive to the complexity of queer history, and offers a new story of Irish culture in the twentieth century.
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Manuel Vason's images exist somewhere between portraiture, performance documentation, and documentary -or, perhaps, his images are fashion shots, but the bodies are clothed in performance." Tracey Warr, independent curator, editor of The Artis's Body.
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