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\"A foul-mouthed Nancy Mitford for the Gawker generation.\".

A biographical novel depicting Victoria Ocamp's friendships, debates, and conflicts with poet Rabindranath Tagore, philosopher José Ortega y Gasset, and the writers Pierre Drieu de la Rochelle, Hermann von Keyserling, and Waldo Frank, witnessed by the fictional Carmen Brey, a Galician-Spanish immigrant whose story is skilfully interwoven with that of Ocampo.

House of Falling Women is the story of a young woman with quixotic ideas about improving the lot of women who finds out that the crusader's cloak is an uncomfortable one. Martha Elive, armed with a university education and a substantial legacy from a Dutchwoman she meets while studying abroad on a scholarship, decides to create an institute for the empowerment of women, only to find that the contradictions to be resolved are more firmly anchored in her psyche than elsewhere. In addition to her unexorcised ghosts and the legacies of a chequered love life, she has to contend with recalcitrant public opinion and moral inertia, the opposition of old-guard reactionaries, and the incomprehension of her small-town parents. House of Falling Women is a poignant, often hilarious story of the search by a group of women for a new place in society in a world where women are dissatisfied with the old values and bewildered by the new.

Soweto during the 1970s was riven with violence and brutality, the brunt of which was borne by the young people of that period, who took the lead in the struggle against apartheid oppression. Himself a product of the era, Sol Rachilo turned both to science and to art as he strove to depict the atmosphere and the emotions of the people of those tumultuous times. Not relying solely on his own deeply engraved memories, he spent 18 months researching the events which swirled around the Morris Isaacson High School, a magnet for the activists and intellectuals of the time. The book especially highlights the happenings of 1976 and 1977, two years of strife in this politically charged township which was the home of all the founding fathers of what Sol calls, ìour cherished freedomî ñ Nelson Mandela, Walter Sisulu, Nthato Motlana, Desmond Tutu, Mothopeng and Sobukwe.

Set during the Iranian Revolution of 1979 and the ensuing Iran-Iraq War of 1980–1988, the novel Martyrdom Street chronicles the lives of three Iranian women, Fatemeh, Nasrin, and Yasaman. These ordinary women tell their intimate stories of love, loss, betrayal, and hope in intertwining narratives that unfurl simultaneously in America and Iran. Kashani-Sabet’s characters endure both the familiar struggles of family relationships and searing political upheavals. A mother and daughter come to terms with the burdens of separation imposed by politics and exile. A young woman grapples with the haunting memories of an assassination. The poignant confessions of these skillfully wrought characters give voice to the travails of two generations of Iranians and Iranian Americans.

This book is a comprehensive appraisal of the political history of Nigeria since colonisation, with emphasis on political parties. The author argues that party coalitions in Nigeria can be explained by the factors of heterogeneity as well as the political systems the country has experimented with. He asserts the influence of the institution of the presidency in the current trend towards a two-party system.

What if fairy-tale characters lived in New York City? What if a superhero knew he was a fictional character? What if you could dispense your own justice with one hundred untraceable bullets? These are the questions asked and answered in the course of the challenging storytelling inFables,Tom Strong, and100 Bullets, the three twenty-first-century comics series that Karin Kukkonen considers in depth in her exploration of how and why the storytelling in comics is more than merely entertaining. Applying a cognitive approach to reading comics in all their narrative richness and intricacy,Contemporary Comics Storytellingopens an intriguing perspective on how these works engage the legacy of postmodernism-its subversion, self-reflexivity, and moral contingency. Its three case studies trace how contemporary comics tie into deep traditions of visual and verbal storytelling, how they reevaluate their own status as fiction, and how the fictional minds of their characters generate complex ethical thought experiments. At a time when the medium is taken more and more seriously as intricate and compelling literary art, this book lays the groundwork for an analysis of the ways in which comics challenge and engage readers' minds. It brings together comics studies with narratology and literary criticism and, in so doing, provides a new set of tools for evaluating the graphic novel as an emergent literary form.

This book is the follow-up to Thierry Groensteen's ground-breakingThe System of Comics, in which the leading French-language comics theorist set out to investigate how the medium functions, introducing the principle of iconic solidarity, and showing the systems that underlie the articulation between panels at three levels: page layout, linear sequence, and nonsequential links woven through the comic book as a whole. He now develops that analysis further, using examples from a very wide range of comics, including the work of American artists such as Chris Ware and Robert Crumb. He tests out his theoretical framework by bringing it up against cases that challenge it, such as abstract comics, digital comics and sh?jo manga, and offers insightful reflections on these innovations. In addition, he includes lengthy chapters on three areas not covered in the first book. First, he explores the role of the narrator, both verbal and visual, and the particular issues that arise out of narration in autobiographical comics. Second, Groensteen tackles the question of rhythm in comics, and the skill demonstrated by virtuoso artists in intertwining different rhythms over and above the basic beat provided by the discontinuity of the panels. And third he resets the relationship of comics to contemporary art, conditioned by cultural history and aesthetic traditions but evolving recently as comics artists move onto avant-garde terrain.

It has become an axiom in comic studies that \"comics is a language, not a genre.\" But what exactly does that mean, and how is discourse on the form both aided and hindered by thinking of it in linguistic terms? InComics and Language, Hannah Miodrag challenges many of the key assumptions about the \"grammar\" and formal characteristics of comics, and offers a more nuanced, theoretical framework that she argues will better serve the field by offering a consistent means for communicating critical theory in the scholarship. Through engaging close readings and an accessible use of theory, this book exposes the problems embedded in the ways critics have used ideas of language, literature, structuralism, and semiotics, and sets out a new and more theoretically sound way of understanding how comics communicate. Comics and Language Comics and Language

On podcasts, in profiles, on social media, the individual author is more visible today than ever. But such platforms belie the very process that has made the contemporary novelist a brand manager of a more collaborative endeavor. Combining an original dataset of international bestseller lists, interviews with industry professionals, and a critical reading of the biggest international bestseller of the last decade, we argue for a shift in authorship that occurs when conglomeration bleeds into globalization, bestsellers become international, and the twenty-first-century author foregoes the work of solitary creativity to embrace the collective work of brand management.