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"Mothers Death Fiction."
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Waterhole
A haunting and engaging debut from a talented Australian author. Sixteen-year-old Sunny Maguire is dreading the school holidays. She used to love visiting her grandmother's farm but ever since her mother died in a tragic car accident, Sunny doesn't feel at home anywhere anymore and the farm is a constant reminder of what she has lost. She knows it's going to be a long summer. Worse, she has to spend it with her distant stepfather, Kevin, the only 'family' she has left. On her return to the small town of Kelly's Crossing, Sunny is distracted by a new resident - Matthew Bright - and the disappearance of local teenager Dylan Koslovski. She gets involved in the search for Dylan along the mysterious Constant Creek Gorge, a beautiful location tainted by tragic drownings. Complications arise when Kevin becomes a suspect in the case and rumours begin to circulate. Sunny doesn't trust him and she's beginning to lose faith in herself, too, especially when she starts to see her mother's ghost.
eBook
An unremarkable body
When Katharine is found dead at the foot of her stairs, it is the mystery of her life which consumes daughter, Laura. The medical examiner's report, in which precious parts of Katharine's body are weighed and categorized, motivates Laura to write her own version of events. To bear witness to the unbearable blank space between each itemized entry. What emerges is a picture of life lived in the shadows, as well as an attempt to discover how and why her mother died. To make sense of her own grief Laura must piece her mother's body back together and in doing so, she is forced to confront a woman silenced by her own mother and wronged by her husband. A woman who felt shackled by motherhood and unable to love freely. With the heart of a memoir and the pace of a thriller, An Unremarkable Body reveals the overwhelming desire of those who mourn to protest that an unremarkable body does not mean an unremarkable life.
Sentiment and specters: The posthumous influence of animals and women in Marie Espérance von Schwartz's Gemma, oder Tugend und Laster (1877) and the late nineteenth‐century anti‐vivisection debate
Animals enjoyed an active afterlife in late‐nineteenth‐century pro‐animal texts in Germany. Drawing on a number of primary texts and recent scholarship on the anti‐vivisection movement, this article argues that remembering, mourning, and haunting by animals is part of a gendered discourse on animal rights that is associated in particular with sentiment and with maternity. This is illustrated with reference to Marie Espérance von Schwartz's Gemma, oder Tugend und Laster (1877), a sentimental anti‐vivisection novella in which deceased animals and women return to punish their abusers or shore up the resistant stance of the living. Viewing Schwartz's fictional novella in the context of non‐fictional pro‐animal works, including Ernst Grysanowski's Die Vivisection, ihr wissenschaftlicher Werth und ihre ethische Berechtigung (1877) and Ignaz Bregenzer's Thier‐Ethik: Darstellung der sittlichen und rechtlichen Beziehungen zwischen Mensch und Thier (1894), allows me, by means of contrast, to highlight its gendered dimension.
Journal Article
Gracie's secret
Time stops for Jen when her beloved daughter, Gracie, is involved in a terrible car crash. After the little girl is pronounced dead at the scence, it's a miracle when paramedics manage to then resuscitate her. The relief Jen feels at Gracie's recovery is matched only by her fury at the driver of the car-- her ex-husband's new girlfriend, Ella. Jen has never trusted Ella, and now her worst fears have been confirmed. But then Gracie begins to tell strange stories about what she heard in the car that day, and what she saw in those moments near death. It's clear that there's something shocking hidden in Ella's past...but exposing it could tear all their lives apart.
Book
Terror Viscous: The Reimagined Gothic in Karen Russell’s Swamplandia
Graham-Bertolini discusses Karen Russell's Swamplandia! Swamplandia! (2011) obscures the boundary between life and death, resulting in a modern gothic/grotesque narrative that transposes the action of eighteenth- and nineteenth-century gothic from crumbling mansion to the contemporary locale of the Florida Everglades. It is the story of the Bigtrees, a family that for two and a half generations has owned and operated an alligator theme park called Swamplandia! on an island located thirty miles off of the Florida coast. The park is threatened by foreclosure, which would force the family to relocate to the mainland. What's worse, the Bigtrees have accumulated massive debt because of a new technological marvel on the mainland, The World of Darkness theme park, which has siphoned away their customers. Swamplandia!'s demise is hastened by the sudden death-by-cancer of their star performer, Hilola Bigtree, alligator-wrestler extraordinaire and mother of the three adolescent children who live and work on the island. The novel thus opens with a mood as uncertain as the swampland itself, which is neither terra firma nor subaqueous, but a condition somewhere in between--the terra viscous.
Journal Article
The day the angels fell
\"When tragedy shakes young Samuel Chamber's family, his search for answers entangles him in the midst of an ancient conflict and leads him on an unexpected journey to find the Tree of Life\" -- Provided by publisher.
Book
Refugees, Extinction, and the Regulation of Death in Alfonso Cuarón’s Children of Men
This article is an attempt to make sense of the paradox structuring the narrative of extinction in Alfonso Cuarón’s Children of Men (2006), which juxtaposes a romanticized image of survival and rebirth and the ugliness of senseless death. Departing from a biopolitical framework, the article argues that Cuarón’s story represents extinction as beyond redemption yet as subject to regulation. Given the fact that the narrative is structured around the citizen/refugee nexus, I read the film as a story about the eschatological value of refugees to both cultural conceptualizations of human extinction and a reproduction of statist political identities. The film is thus not only about unequal access to death but also about how the difference between the citizen and the refugee can still be maintained in the face of climatic extinction when the regulation of life is no longer sufficient.
Journal Article
Dreaming darkly
After her mother's death, Ivy is sent to live on an island with a rich uncle where she experiences nightmares and learns about her family's murderous past.
Book
Flying lessons
Beatrice knows mom is dead. She just doesn't want to deal with it. Neither does Talia, who is not equipped to care for her newly orphaned autistic sister.
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