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The received view in mainstream philosophy is that violence is an ‘act’, to be defined in terms of ‘force’ and ‘intentionality’. This approach regrettably and inexcusably tends to prioritise the agent performing the act of violence in question. This paper argues that we should resist this tendency, in order to prioritise the victim or survivor of violence, and her personal experience, not that of the perpetrator. Starting from an analysis of the devastating impact of violence that characterises the experience of sexual violation and its aftermath, based on the memoirs of Susan Brison (philosopher) and Alice Sebold (novelist), we will then proceed to argue that violence should not be thought of merely in terms of an ‘act’, but also as an ‘experience’, the difference being that an act is temporally determinate while an experience is temporally indeterminate. With the help of a phenomenological approach, we will argue that violence has time-indeterminate intended and unintended consequences; these are the ripples of violence. Finally, some of the moral, legal and political implications of acknowledging the temporal indeterminacy of violence will be highlighted.

North Shelby Library, Birmingham In February 2024, an adult patron borrowed Gender Queer: A Memoir by Maia Kobabe from North Shelby Library. They subsequently complained about “sexual activities” and “alternate gender ideologies,” filing a formal challenge to the title. It was retained. Reported in: Office for Intellectual Freedom challenge report

Pedophiles have always been a source of anxiety for people. Since the last two decades of the twentieth century, media and literature in America has started to focus on the phobia over the increase in violence and sexual abuse committed by pedophiles. What intensifies societal anxiety is not only this increase in the number of crimes, but also that perpetrators are clever enough to cover for their offenses and to evade the law. Thus, they remain at large and represent a threat to many individuals and families. Contemporary novelists, like Alice Sebold, are careful not to exclude this issue from their fictional material. This study focuses on Alice Sebold’s “The Lovely Bones” as an example of this public anxiety. It explores the traumatic experience of Susie Salmon, one of George Harvey’s (the pedophilic character in the text) victims and the consequences of his violent act on the victim’s family. It is concluded that Harvey develops anti-social and criminal tendencies as a consequence of abuse and degradation, both familial and social, he had experienced in childhood. The novel, the research concludes, is the author’s psychological guide to victims of trauma, written out of her experience as a victim of physical abuse.

Heaven and hell are good places for creating the plot of a story because no one has ever seen these lands. They are hyper-real places because we imagine them like what we see on earth and can never imagine them as they are. Their reality is based on what we read about them in the holy books. By using Jean Baudrillad's ideas of \"Hyper-reality\" and \"Simulacra and Simulation,\" the present study attempts to consider the concept of hyper-reality in Alice Sebold's The Lovely Bones (2002) in which the main character starts her life on heaven. She tries to indicate heaven as a human creation a place like earth. The writer depicts heaven as an earthly landscape and makes the readers believe that whatever they read about heaven is really true and this fact puts more emphasis on the hyper-reality of heaven in the novel. Through the story heaven is simulated as a copy of a real religious one. Thus, the heaven of the novel is a hyper-reality because as it is a copy of religious one but it has no origin. We mean the things and places as amusement parks, different American cars, magic ice creams and newspapers have no place in the real religious heaven that we read about in different holy books such as The Bible and The Holy Quran.

[2] What sets The Lovely Bones apart from other fiction and non-fiction about sexual crimes against women is the unusual narrative setting employed by Sebold: Susie Salmon, aged 14, brutally raped and murdered on December 6th, 1973 in a cornfield near her home, relates the events leading up to and following her murder at the hands of a neighbour in suburban Pennsylvania from her own personal heaven. Analysing the novel from a postfeminist perspective, Whitney argues that \"the act of naming oneself a survivor symbolically places the subject's trauma in the past and denies the event the ability to define her\" (355). [...]Susie is allowed to define her trauma rather than being defined by it.

This essay considers the novels of Alice Sebold, The Lovely Bones (2002) and The Almost Moon (2007), within the nascent genre of postfeminist gothic. Sebold, the essay argues, revivifies the female Gothic genre in a moment that is invested in minimizing and repressing gendered inequity. The posthumous narrative of The Lovely Bones addresses the \"victim/agent\" debate within postfeminist discourse while dissipating rage over the heroine's rape and murder through a variety of textual strategies. By contrast, The Almost Moon's mad matricidal heroine exposes the rage simmering beneath the surface of postfeminism's supposedly compliant visage. Both works explore the difficulty of writing about gendered violence and reveal tensions within postfeminist ideology.

Despite her tight schedule Anne Wizorek was kind enough to speak with us. 3 Johanna Schorn's contribution \"Empowerment Through Violence: Feminism and the Rape-Revenge Narrative in The Girl with the Dragon Tattoo\" provides a view on the constructions of rape victims in popular as well as news media and the ways in which they are consistently denied agency.

It's an apology nearly 40 years in the making. Author Alice Sebold posting a statement online writing in part, I am truly sorry to Anthony Broadwater and I deeply regret what you have been through. I am sorry most of all for the fact that the life you could have led was unjustly robbed from you, and I know that no apology can change what happened to you and never will.