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"Child, Julia Fiction."
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Julia, child
A fictional story about Julia Child as young girl in which she and her best friend Simca have many cooking adventures.
Book
Trousers
Try to keep your expression relaxed. Try to act like someone who belongs here. I read signs and symbols without much trouble, guided from one overhead train icon to the next, as I glide across the vast, creamy marble floor of Charles de Gaulle airport. But at best, I can speak only a few simple phrases of the language, and I fumble with unfamiliar words and coins to buy bottled water in a small shop beside the concourse. Both words and anxious tone give me away as a stranger to this place and the language, and a woman travelling alone.
Journal Article
The secret war of Julia Child : a novel
\"Before she mastered the art of French cooking in midlife, Julia Child found herself working in the secrets trade in Asia during World War II, a journey that will delight both historical fiction fans and lovers of America's most beloved chef, revealing how the war made her into the icon we know now. Single, 6 foot 2, and thirty years old, Julia McWilliams took a job working for America's first espionage agency, years before cooking or Paris entered the picture. The Secret War of Julia Child traces Julia's transformation from ambitious Pasadena blue blood to Washington, DC file clerk, to head of General \"Wild Bill\" Donovan's secret File Registry as part of the Office of Strategic Services. The wartime journey takes her to the Far East, to Asia's remote front lines of then-Ceylon, India, and China, where she finds purpose, adventure, self-knowledge - and love with mapmaker Paul Child. The spotlight has rarely shone on this fascinating period of time in the life of (\"I'm not a spy\") Julia Child, and this lyrical story allows us to explore the unlikely world of a woman in a World War II spy station who has no idea of the impact she'll eventually impart\"-- Provided by publisher.
BOOK
Ambivalent texts, the borderline, and the sense of nonsense in Lewis Carroll’s “Jabberwocky”
Taking Carroll’s “Jabberwocky” as emblematic of a text historically enjoyed by both children and adults, this article seeks to place the text in the area of what Kristeva defines as the borderline of language and subjectivity in order to theorize a site by which ambivalent texts emerge as such. The fact that children’s literature remains largely trapped in the literary didactic split in which these texts are understood as either learning materials or primers toward literacy, the article situates Carroll’s text in theories of language, subjectivity, and clinical discourse toward are more complex reading of a children’s text.
Journal Article
A fashionably French murder
\"If there's one art the French have mastered as well as fine cuisine, it's haute couture. Tabitha and Julia are already accustomed to sampling the delights of the former. Now fashion is returning to the forefront in Paris, as the somber hues of wartime are replaced by vibrant colors and ultra-feminine silhouettes, influenced by Christian Dior's \"New Look.\" Tabitha and Julia join a friend for a private showing at an exclusive fashion atelier, Maison Lannet. The event goes well, but when Tabitha returns later that evening to search for a lost glove, she finds the lights still on--and the couturier dead, strangled by a length of lace. The shop manager suspects that a jealous rival--perhaps Dior himself--committed the crime. Tabitha dismisses that idea, but when another body is found, it's apparent that someone is targeting employees of Maison Lannet. Meanwhile, Tabitha's Grand-père and Oncle Rafe are in the midst of their own design-related fracas, as they squabble over how to decorate their new restaurant. And there are strange break-ins at a nearby shoe store--but are the crimes related? It's up to Tabitha to don her investigative hat and find answers before someone commits another fatal fashion faux pas\"-- Provided by publisher.
BOOK
Mama and Kristeva: Matricide in the Horror Film
Monstrous mothers are a commonplace in horror films. Often, these are real-life mothers who have become monstrous due to a disruption in their relationship with their child; examples include films such as Psycho (1960), Friday the 13th (1980), and Inside (2007). Additionally, there is a strong tradition of ghostly mothers, both in gothic literature and in horror films. As discussed by James Kendrick (142-158), the ghost often signifies a lack or a repressed trauma;1 for these ghostly mothers, this lack often centers on the death or theft of a child. This is exemplified by classic horror films such as Lewis Allen's The Uninvited (1944), as well as more modern films such as Alejandro Amenábar's The Others (2001), John Stimpson's The Legend of Lucy Keyes (2005), and James Watkins' The Woman in Black (2012). Sometimes the maternal ghost is aware of this traumatic experience, and at other times she is only aware that something is wrong and lashes out angrily at those around her. In any case, characters who find themselves in one of these narratives are better off if they can avoid inserting themselves in between the maternal ghost and her biological or substitute children. In general, ghost stories frequently revolve around some unresolved and unnamed trauma. The ghost lingers because they are unable to move beyond this trauma; only with the help of the narrative's protagonists is the old wrong able to be set right, releasing the ghost into the afterlife. In many narratives of haunting, the trauma lies in the past, experienced by a human who has now taken the form of the ghost; the role of the protagonists is to reveal this trauma, and do what they can to put things right. Here, the author discusses the theme of the mother in horror films \"Mama\" using ideology from philosopher Julia Kristeva.
Journal Article
The Nest of Sublimation: Creative Regression, Intolerable Loss, and Forbidden Desire in Dale Peck’s Sprout
Interestingly, Kidd also notes the trend in contemporary young adult fiction of positioning characters as actively engaged in self-representation, working to develop and question the descriptive powers of language and art: \"in text after text, the teen protagonist is a writer or an artist, proactive in the construction of meaning and trying to manage an unsettling or even traumatic experience\" (174).
Journal Article
I have to figure out who I am
Focusing on David Levithan’s 2012 novel Every Day, the story of A, a disembodied entity whose life has been spent hopping from body to body and awakening to a new life every single day, this article explores the relationship that identity entertains with embodiment and how this relation itself affects our understanding of adolescent ethics. Indeed, by highlighting the place otherness occupies in the constitution of the subject’s sense of self, Levithan’s novel opens up a potential space for re-thinking adolescence not as a centripetal and egocentric period, driven by a quest for identity, but rather as a time of intense ethical negotiation in which the subject crafts her/his sense of self by opening this self to a continuous dialogue between an interior form of otherness and the commonality s/he finds outside her/his own self.
Journal Article
A Legacy of Labor: Maternity Narratives in 1960s and 1970s North American Life Writing
The phenomenon of maternity has been repeatedly described as an event that shakes the very foundations of social and physical identity. As the flesh of the pregnant person literally divides to produce new life, one subject becomes enclosed within another, dramatically affecting the pregnant person’s sense of self and causing a confluence of intense, and often conflicting, feelings. In North America, there are two dominant, and seemingly opposing, discourses on pregnancy and childbirth: the institutional medical discourse and the natural childbirth discourse. These two discourses have perpetuated the myth of a homogenous, monolithic maternity experience and generally ignore the myriad of intersectional diversities that affect maternity and mothering. This dissertation explores North American maternity life writing from the 1960s and 1970s—a time period heavily influenced by the second women’s movement, Black Power movement, women’s health movement, and natural childbirth movement. These narratives destabilize the concepts of a universal maternity or mothering experience and create discursive room to address the cultural taboos that permeate the realities of pregnancy and birth.In Chapter 1, I explore how the dominant discourses of the mid-twentieth century create and utilize metaphorical language to describe the physical processes and sensations of pregnancy and childbirth. This chapter introduces the public language and ideologies associated with maternity in the 1960s and 1970s that the authors in my subsequent chapters negotiate. In Chapter 2, I discuss three pieces that center splitting or multiplying maternal subjectivities and feelings of maternal ambivalence: Margaret Atwood’s “Giving Birth,” Doris Betts’s “Still Life with Fruit,” and Maxine Chernoff’s “A Birth.” In this chapter, I purposefully focus on writing from white, married, heterosexual, middle-class, cisgender female authors to explore the diversity of maternity experiences within a relatively homogenized and culturally idealized group. In Chapter 3, I turn to Black revolutionary Assata Shakur’s memoir,Assata, to discuss the tenets of Black maternal theory and mythology that view Black motherhood as a source of strength, resistance, and cultural revolution. Finally, in Chapter 4, I extend the understanding of maternity life writing to include stories of reproductive loss and abortion. Looking to Sylvia Plath’s “Three Women: A Poem for Three Voices” and Ntozake Shange’s for colored girls who have considered suicide / when the rainbow is enuf,I discuss the value of polyphony as a writing technique to further foreground the complexities and diversities of maternity experiences. This chapter highlights an overarching theme of the dissertation: the value of storytelling as a source of connection for individuals whose experiences have been essentially erased from public discourse.
Dissertation
Cultural (Il)literacy: Narratives of Epistolary Resistance and Transnational Citizenship in Julia Alvarez’s Return to Sender
This article explores the ways in which Julia Alvarez’s semi-epistolary young adult novel Return to Sender (2009) demonstrates reading and writing as ideological practices. The novel’s co-protagonist Mari, a Mexican undocumented migrant living in Vermont, is marginalized by her illegal status in the US, and creates, through her letters and diary entries, transformative spaces of writing. The novel illustrates what Alvarez considers the nation’s cultural illiteracy, in which social conditioning criminalizes illegal immigrants and creates an environment of paranoia and fear. The novel addresses this illiteracy by creating a vision of transnational citizenship, primarily through Mari’s epistolary narrative, which documents her family’s experiences and offers certain stylistic features particular to epistolary writing that allow Alvarez to demonstrate the instabilities of migrant life in the US.
Journal Article