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The grave's a fine and private place
\"\"The world's greatest adolescent British chemist/busybody/sleuth\" (The Seattle Times), Flavia de Luce, returns in a twisty new mystery novel from award-winning and New York Times bestselling author Alan Bradley. In the wake of an unthinkable family tragedy, twelve-year-old Flavia de Luce is struggling to fill her empty days. For a needed escape, Dogger, the loyal family servant, suggests a boating trip for Flavia and her two older sisters. As their punt drifts past the church where a notorious vicar had recently dispatched three of his female parishioners by spiking their communion wine with cyanide, Flavia, an expert chemist with a passion for poisons, is ecstatic. Suddenly something grazes against her fingers as she dangles them in the water. She clamps down on the object, imagining herself as Ernest Hemingway battling a marlin, and pulls up what she expects will be a giant fish. But in Flavia's grip is something far better: a human head, attached to a human body. If anything could take Flavia's mind off sorrow, it is solving a murder--although one that may lead the young sleuth to an early grave\"-- Provided by publisher.
Book
Documenting the Corporate Underworld in Mark Nowak's Coal Mountain Elementary
Documentary (or “reportage”) art has been widely studied as a social and
political practice aligned with investigative or “muckraking” journalism.
Likewise, the critical discussion of documentary poetry has emphasized its
political, rather than its strictly literary, nature. Less, meanwhile, has been
written about the documentary tendency in terms of its complex relationship to
long-held traditions of poetry. This article calls attention to one site where
documentary poetry is, rather than simply discarding poetry's traditional
conceits, actively incorporating them into its contemporary project. Mark
Nowak's 2009 book Coal Mountain Elementary documents industrial
mining experiences for a public audience. As a work of political art, it serves
an overt public function within a discursive environment in which truth is
hidden and in need of being extracted, yet in doing so it evokes perhaps the
most powerful formula available to the Western poetic tradition for revealing
concealed information: the katabasis (Greek: κατάβασις,
“descent”) literary trope. Nowak assembles documents that lead the reader
underground into privatized, corporate-controlled spaces, enlisting katabatic
imagery to indicate sites of human abuse in the coal extraction industry. Thus,
CME redirects the katabasis topos from a
visionary to a documentary program; literalizing and inverting the heroic
formula, Nowak structures his political critique of today's neoliberalized
workplace as a subversion of Western poetic convention—an
anti-katabasis. In this way the poet transforms the ancient
narrative trope into an act of public investigation and a mode
of historical description. Nowak's reopening of the katabasis
trope disrupts neoliberal narrative closures and indicates arenas of renewed
literary heroism in contemporary society.
Journal Article
Francine Prose Has an Eye for Disinformation
In June 2017, while Americans were furiously debating former FBI director James Comey’s testimony on Capitol Hill, the writer and critic Francine Prose offered a staid, almost schoolteacherly response to the hearing. In the New York Review of Books, she presented a close textual analysis of Comey’s testimony and his exchanges with the members of the Senate Intelligence Committee, dissecting word choices and rhetorical tics. What did he mean by the word honest, what did former president Donald Trump mean by the word loyalty, and why exactly did Republican senators repeatedly assert that Trump was “not under investigation”?
Trade Publication Article
