The poems in this collection are the culmination of a 10 year work-in progress. "I think I have attempted to explore the necessary relationship between life and death, loss and fulfillment."

Named a Writer to Watch by the Los Angeles Times, Richard Chiem brings readers a novel that is equal parts sledgehammer and sweet song--a neon, pulsing portrait of grief, and an electrifying story of one woman's survival against all odds. Corvus has always had an overactive imagination. Growing up, she develops a unique coping mechanism: she can imagine herself out of any situation, no matter how terrible. To get through each day, Corvus escapes into scenes from fantasy novels, pop songs, and action/adventure movies, and survives by turning the everyday into just another role to play in the movie of her life. After a tragic loss, Corvus finds a sadness so great she cannot imagine it away. Instead, she finds Tim, a pornographer with unconventional methods, who offers her a new way to escape into movies. But when a sinister plot of greed and betrayal is revealed, Corvus must fight to reclaim her independence, and discovers she is stronger than even she could have imagined.

The Aesthetics of Self-Harm presents a new approach to understanding parasuicidal behaviour, based upon an examination of online communities that promote performances of self-harm in the pursuit of an idealised beauty. The book considers how online communities provide a significant level of support for self-harmers and focuses on relevant case studies to establish a new model for the comprehension of the online supportive community. To do so, Alderton explores discussions of self-harm and disordered eating on social networks. She examines aesthetic trends that contextualise harmful behavior and help people to perform feelings of sadness and vulnerability online. Alderton argues that the traditional understanding of self-violence through medical discourse is important, but that it misses vital elements of human group activity and the motivating forces of visual imagery. Covering psychiatry and psychology, rhetoric and sociology, this book provides essential reading for psychologists, sociologists and anthropologists exploring group dynamics and ritual, and rhetoricians who are concerned with the communicative powers of images. It should also be of great interest to medical professionals dealing with self-harming patients.

Here is an outstanding new intellectual biography of Augustine of Hippo. Augustine was one of the West's first public philosophers. Intellectually brilliant and a gifted writer, he is known primarily as one of the great figures of Christian late antiquity. In this new biography we encounter him through the complexities of his remarkable personality. Miles Hollingworth demonstrates that it was as a personality that he turned against his Age to explore the shocking relevance of one life to God and history. His autobiography, the Confessions, is held up by many today as the first truly modern book. Saint Augustine of Hippo is written at once for scholars and students but also for the huge number of intelligent lay readers for whom Augustine is a towering figure in the history of Western civilisation.

In this bold defense of so-called confessional poetry, Alan Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment--from the jaggedness of the later work of Robert Lowell to the montage--like methods of John Ashbery, from the visual surrealism of James Wright and W. S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath.

What is poetry? Often it is understood as a largely self-enclosed verbal system—“suspended from any mutual interaction with alien discourse,” in the words of Mikhail Bakhtin. But in Poetry and Its Others, Jahan Ramazani reveals modern and contemporary poetry’s animated dialogue with other genres and discourses. Poetry generates rich new possibilities, he argues, by absorbing and contending with its near verbal relatives. Exploring poetry’s vibrant exchanges with other forms of writing, Ramazani shows how poetry assimilates features of prose fiction but differentiates itself from novelistic realism; metabolizes aspects of theory and philosophy but refuses their abstract procedures; and recognizes itself in the verbal precision of the law even as it separates itself from the law’s rationalism. But poetry’s most frequent interlocutors, he demonstrates, are news, prayer, and song. Poets such as William Carlos Williams and W. H. Auden refashioned poetry to absorb the news while expanding its contexts; T. S. Eliot and Charles Wright drew on the intimacy of prayer though resisting its limits; and Paul Muldoon, Rae Armantrout, and Patience Agbabi have played with and against song lyrics and techniques. Encompassing a cultural and stylistic range of writing unsurpassed by other studies of poetry, Poetry and Its Others shows that we understand what poetry is by examining its interplay with what it is not.

With chapters written by more than 25 leading and emerging international scholars, The Bloomsbury Handbook to Sylvia Plath provides the most comprehensive collection of contemporary scholarship on Plath's work. Including new scholarly perspectives from feminist and gender studies, critical race studies, medical humanities and disability studies, this collection explores: · Plath's literary contexts – from the Classics and the long poem to W.B Yeats, Edith Sitwell, Ruth Sillitoe, Carol Ann Duffy, and Ted Hughes · New insights from Plath's previously unpublished letters and writings · Plath's broadcasting work for the BBC Providing new approaches to her life and work, this book is an indispensable volume for scholars of Sylvia Plath.

The author shows how Plath's remarkable lyric dramas define a private ritual process. The book deals with the emotional material from which Plath's poetry arises and the specific ritual transformations she dramatizes. It covers all phases of Plath's poetry, closely following the development of image and idea from the apprentice work through the last lyrics of Ariel. The critical method stays close to the language of the poems and defines Plath's struggle toward maturity. Originally published in 1979. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Primary research exploring why many of Sylvia Plath’s readers become so attached to her as a cultural figureAn innovative and theoretical approach to the relationship between author and readerPreviously unpublished photographsA creative exploration of ways in which fandom can manifest itself The Haunted Reader and Sylvia Plath takes an unusual approach to studies on this enigmatic literary figure, focusing on the readers rather than the historical figure herself. Working from the premise that Plath is a highly visible cultural figure, this book explores why her readers become so attached to her. Why does she have such a large and devoted following? What is it about her that attracts people and once they are drawn in, how does this fandom manifest itself? This book is based on primary research carried out by the author who has collected stories and accounts from readers of Plath and explores key areas such as the first encounter with Plath, ways in which fans feel they ‘double’ with her, pilgrimages that they make to places where she lived and worked, how they interact with her images and how they respond to objects owned by Plath. This study is unique and there is no other book that deals with this subject. As such, The Haunted Reader and Sylvia Plath offers a fascinating and original approach not only to Plath scholarship, but to the increasing body of literature on fandom studies. Illustrations: 13 black-and-white photographs

The mainstream press often celebrates the ‘tweeting’, ‘facebooking’ and ‘gramming’ of art commentary. Yet online forms of art criticism have a much longer and more varied history than we think. Far preceding the art discussions happening on the likes of Twitter and Facebook. Before art discussions took place on social media, there were networked art projects and art critical Bulletin Board Systems, email discussion lists and blogs. Art Criticism Online: A History provides the first in-depth history of art criticism following the Internet. The book considers the core stages of development and considers where critical practice is heading in the future. Charlotte Frost's Art Criticism Online provides a much needed account and indispensable survey of the ways in which Western art criticism has been profoundly affected and changed by the online environment. Building on the history of networked and participatory criticism predating the Internet, Frost traces three different phases of online art criticism unfolding in early discussion groups, on listservs, and within today's blogosphere and social media platforms. The book expertly captures nuanced transformations in art criticism's content, form and style, analyzing how approaches have shifted in response to the evolution of the art world terrain. Art Criticism Online successfully manages to provide readers with a map of the dynamic expressions of today's critical culture. --Christiane Paul, Adjunct Curator of Digital Art, Whitney Museum, Director/Chief Curator, Sheila C. Johnson Design Center, Parsons/The New School So what happened to art criticism, anyway? This lively history is a vital resource for anyone interested in this question. Drawing on a half-century of examples, the book discusses the new, experimental writing practices the internet has made possible, and its destructive effects, making a persuasive case that art criticism hasn't gone away it's just changed radically. --Michael Connor, Artistic Director, Rhizome