Essay On The Book Raw

Essay On The Book Raw-25
Though in the essays she pushes herself into painful, some­times traumatic, memories, there is humour in the darkness and vice versa. These are notes for everyone.”—Image“[Pine’s] writing is clear and urgent, the kind that makes you sit up and take notice. , Bruce Sterling published an essay entitled “Slipstream.” This brief piece combined a polemic against the moribund state of the sf genre with an analysis of an emerging literary mode that engaged the contemporary world with the ideational boldness sf had allegedly abandoned. For all its sketchiness, the essay did at the time seem to capture a prevailing sentiment—visible in the critical work on cyberpunk being done by the likes of Larry Mc Caffrey and Brian Mc Hale—that the cutting edge of the sf genre and the “mainstream” of postmodern literature were converging in a significant and powerful way.A consensus seems to be building that we have reached some sort of post-genre plateau—that the traditional lines demarcating science fiction and the contemporary novel have been so blurred and transgressed in recent fiction as to render the categories meaningless.

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We begin with a second essay on slipstream by Sterling, reprinted from the Fall/Winter 1999 issue of the fanzine essay is widely available online), which updates some of his original ideas by a decade and sets the stage for this issue’s further discussions.

A symposium on the topic gathering major authors and critics follows, showing the ongoing contentiousness of the term as well as its critical vitality; this symposium is supplemented by a Notes item featuring lists of recent slipstream texts recommended by members of our editorial board.

She writes with radical honesty on the unspeakable grief of infertility, on caring for an alcoholic parent, on taboos around female bodies and female pain, on sexual violence and violence against the self. Devastating, poignant, and wise—and joyful against the odds—Notes to Self is an unforgettable exploration of what it feels like to be alive, and a daring act of rebellion against a society that is more comfortable with women’s silence. WINNER OF THE AN POST IRISH BOOK OF THE YEAR • “Emilie Pine’s voice is razor-sharp and raw; her story is utterly original yet as familiar as my own breath.”—Glennon Doyle, #1 New York Times bestselling author of Love Warrior In this dazzling debut, Emilie Pine speaks to the events that have marked her life—those emotional disruptions for which our society has no adequate language, at once bittersweet, clandestine, and ordinary. [A] short, gleamingly instructive book, both memoir and psychological exploration—a platform for that insistent internal voice that almost any woman . It will make you cry.”—Anne Enright The international sensation that illuminates the experiences women are supposed to hide—from addiction, anger, sexual assault, and infertility to joy, sensuality, and love. wishes they had ignored.”—Financial Times “Do not read this book in public.

Praise for Notes to Self“Notes to Self begins as a deceptively simple catalogue of the injustices of modern female life and slyly emerges as a screaming treatise on just what it means to make your own rules, turning the hand you’ve been dealt into the coolest game in town. Everyone should consider [this] priority reading.”—Sunday Business Post “Incredible and insightful—an absolute must-read.”—The Skinny “Agonizing, uncompromising, starkly brilliant. She writes with radical honesty on the unspeakable grief of infertility, on caring for an alcoholic parent, on taboos around female bodies and female pain, on sexual violence and violence against the self. Devastating, poignant, and wise—and joyful against the odds—Notes to Self is an unforgettable exploration of what it feels like to be alive, and a daring act of rebellion against a society that is more comfortable with women’s silence. WINNER OF THE AN POST IRISH BOOK OF THE YEAR • “Emilie Pine’s voice is razor-sharp and raw; her story is utterly original yet as familiar as my own breath.”—Glennon Doyle, #1 New York Times bestselling author of Love Warrior In this dazzling debut, Emilie Pine speaks to the events that have marked her life—those emotional disruptions for which our society has no adequate language, at once bittersweet, clandestine, and ordinary. [A] short, gleamingly instructive book, both memoir and psychological exploration—a platform for that insistent internal voice that almost any woman . It will make you cry.”—Anne Enright Emilie Pine is associate professor of modern drama at University College Dublin, Ireland.

“Emilie Pine’s voice is razor-sharp and raw; her story is utterly original yet as familiar as my own breath. As it turns out, the second inclusion, ‘From the Baby Years,’ is equally strong—I cried twice reading it.

Both timeless and urgent, Notes to Self is my favorite memoir of the year—I will be giving copies of this stunning book to all of my friends.”—Glennon Doyle, #1 New York Times bestselling author of Love Warrior“Having read the first essay of these six personal pieces, you will spend the next few days telling people about it. I vacuumed up everything on the literary landscape that was most loosely attached.Then I wrote a critical article about it, in which I presented the evidence.This mode Sterling dubbed “slipstream,” rather nebulously defined as “a kind of writing which simply makes you feel very strange; the way that living in the late twentieth century makes you feel, if you are a person of a certain sensibility” (78). The term slipstream entered the lexicon as a fuzzy shorthand means for referring to this complex convergence (even though, for Sterling, slipstream, though deeply speculative in its way, lacked the extrapolative rigor of the best sf).The essay was capped by a “Slipstream List” that gathered a wide array of talents, from Kathy Acker to Lawrence Durrell, Russell Hoban to Stephen Wright, with a handful of sf authors (J. Now, more than twenty years later, it seems a good time to assess the fallout of Sterling’s term and its critical value as a tool for analyzing the current literary scene.The seven articles break down into three broad categories: Pawel Frelik provides a careful anatomy of slipstream debates in terms of the boundary discourses that have always been a part of sf history; Justin St. Katherine Hayles, Sarah Dillon, and Andrew Wenaus analyze four other contemporary works whose perspectives align with slipstream as defined by Sterling.Clair and Brooks Landon offer readings of two recent novels that engage with pre-pulp sf, raising the question of whether there is such a thing as proto-slipstream; and the remaining essays by T. In his 1989 essay, Sterling imagined a time when “would-be slipstream critics” would “involve themselves in heady feuding about the ‘real nature’ of their as-yet-nonexistent genre” (80). so that we can learn together to take ourselves and each other more seriously.”—The Irish Times“Every line pulses with the pain and joy and complexity of an extraordinary life.”—Mark O’Connell, author of To Be a Machine“Emilie Pine’s collection of essays, Notes to Self, is light on its feet and goes in deep – family, class, the ways in which women are scared into silence.” — Deborah Levy, bestselling author of Swimming Home and The Cost of Living “Absolutely superb.”—Irish Examiner “Brave, wise and beautifully nuanced, the six essays explore subjects that have traditionally been considered off-limits. ’ Emilie Pine is that writer.” —Totally Dublin“It would be hard to find writing more powerful than that in these essays. She is excellent at capturing contradiction and the complexity of human emotions—how happiness can con­tain grief, how the act of writing can make the writer powerful and vulnerable at once.”—Irish Independent“In turn heartbreaking and heart mending, raw and searingly honest.”—RTÉ“Every woman has that writer that makes them feel less alone in their own bodies, who, through their refusal to be silent about insecurity and embarrassment, answers the clawing ques­tion ‘is it just me who feels like this? The bibliography that follows this introduction gathers material relevant to an understanding not only of slipstream but also of these affiliated and competing categories.is not designed to resolve the various debates but rather to descry their current state of play, to bring the discussion of slipstream (and its offshoots) to bear on a range of recent postmodernist novels in order to assess the relationship between such fictions and the sf genre.

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