Cruddy

On a September night in 1971, a few days after getting busted for dropping two of the 127 hits of acid found in a friend's shoe, a sixteen-year-old who is grounded for a year curls up in the corner of her ratty bedroom, picks up a pen, and begins to write. Once upon a cruddy time on a cruddy street on the side of a cruddy hill in the cruddiest part of a crudded-out town in a cruddy state, country, world, solar system, universe. The cruddy girl named Roberta was writing the cruddy book of her cruddy life and the name of the book was called Cruddy. Now the truth can finally be revealed about the mysterious day long ago when the authorities found a child, calmly walking in the boiling desert, covered with blood. She could not give the authorities any information about why she was the only survivor and everyone else was lying around in hacked-up pieces. Roberta Rohbeson, 1971. Her overblown, drug-induced teenage rant against a world bounded by "the cruddy top bedroom of a cruddy rental house on a very cruddy mud road behind cruddy Black Cat Lumber" soon becomes a detailed account of another story. It is a story about which Roberta has kept silent for five years, until, under the influence of a pale hippie called the Turtle and a drug called Creeper, her tale giddily unspools... Roberta Rohbeson, 1967. The world of Roberta, age eleven, is terrifyingly unbounded, a one-way cross-country road trip fueled by revenge and by greed, a violent, hallucinatory, sometimes funny, more often horrific year of killings, betrayals, arson, and a sinister set of butcher knives, each with its own name. Welcome to Cruddy, Lynda Barry's masterful tale of the two intertwined narratives set five years -- an eternity -- apart, which form the backbone of Roberta's life. Cruddy is a wild ride indeed, a fairy tale-cum-low-budget horror movie populated by a cast of characters that will remain vivid in the reader's mind long after the final page: Roberta's father, a dangerous alcoholic and out-of-work meat cutter in search of his swindled inheritance; the frightening owners of the Knocking Hammer Bar and sometime slaughterhouse; and two charming but quite mad escapees from the Barbara V. Herrmann Home for Adolescent Rest. Written with a teenager's eye for freakish detail and a nervous ability to make the most horrible scenes seem hilarious, Roberta's two stories -- part Easy Rider and part bipolar Wizard of Oz -- painfully but inevitably converge in a surprising denouement in a nightmarish Dreamland in the Nevada desert. By turns terrifying, darkly funny, and resonant with humanity, propelled by all the narrative power of a superior thriller and burnished by the author's pitch-perfect ear for dialogue, Cruddy is a stunning achievement.

A Companion to American Gothic features a collection of original essays that explore America’s gothic literary tradition. The largest collection of essays in the field of American Gothic Contributions from a wide variety of scholars from around the world The most complete coverage of theory, major authors, popular culture and non-print media available

Experience and relive The Hole, it is a true inspiring story in which a young man desperately struggled to overcome The Hole. To him the streets of Baltimore city was The Hole, it was a place that had bind and consumed his life, it gave some but took more. Surviving in the streets he had to watch as the drug game sucked many of his friends and family down into its dark abyss like the black hole it truly was. Finally realizing after years of tribulation and lost, he came to find that the key to his redemption lay in a form least expected.

Women's Experimental Writing considers six contemporary authors who use experimental methods and negative modes of critique in their fiction and feminism. The authors covered are Valerie Solanas, Kathy Acker, Theresa Cha, Chantel Chawaf, Jeanette Winterson, and Lynda Barry. These writers all share a commitment to combining extreme content with formally radical techniques in order to enact varieties of gender, sex, race, class and nation-based experience that, they suggest, may only be “represented” accurately through the experimental unmaking of dominant structures of rationality. Ellen Berry extends the anti-social negative critique predominant in queer studies by offering an alternative archive of feminist negative literary practices and explores the consequences of joining an anti-social critique with radical innovations in literary and cultural forms. She argues that the radical aesthetic practices the authors employ are central to the emergence of contemporary Western feminisms and in doing so rectifies a critical neglect of contemporary experimental writing by women, especially in politicized forms, within the still-emerging postmodern canon.

Despite the boom in scholarship in both Comics Studies and Memory Studies, the two fields rarely interact—especially with issues beyond the representation of traumatic and autobiographical memories in comics. With a focus on the roles played by styles and archives—in their physical and metaphorical manifestations—this edited volume offers an original intervention, highlighting several novel ways of thinking about comics and memory as comics memory. Bringing together scholars as well as cultural actors, the contributions combine studies on European and North American comics and offer a representative overview of the main comics genres and forms, including superheroes, Westerns, newspaper comics, diary comics, comics reportage and alternative comics. In considering the many manifestations of memory in comics as well as the functioning and influence of institutions, public and private practices, the book exemplifies new possibilities for understanding the complex entanglements of memory and comics.

"Deliciously drawn (with fragments of collage worked into each page), insightful and bubbling with delight in the process of artistic creation. A+" -Salon How do objects summon memories? What do real images feel like? For decades, these types of questions have permeated the pages of Lynda Barry's compositions, with words attracting pictures and conjuring places through a pen that first and foremost keeps on moving. What It Is demonstrates a tried-and-true creative method that is playful, powerful, and accessible to anyone with an inquisitive wish to write or to remember. Composed of completely new material, each page of Barry's first Drawn & Quarterly book is a full-color collage that is not only a gentle guide to this process but an invigorating example of exactly what it is: "The ordinary is extraordinary."

The Some Die Mad quatrain continues as Malcolm Ward and his fellow pilot group therapy patients at Mid-State Hospital fight not only their own severe and probably fatal flaws but also try to topple a megalomaniacal superintendent and a system literally out to remove them permanently.

“Imagine if Annie Proulx wrote something like White Oleander crossed with Geek Love or Cruddy, and then add cults, God, motherhood, girlhood, class, deserts, witches, the divinity of women . . . Terrifying, resplendent, and profoundly moving, this book will leave you changed." —T Kira Madden, author of Long Live the Tribe of Fatherless Girls Drought has settled on the town of Peaches, California. The area of the Central Valley where fourteen–year–old Lacey May and her alcoholic mother live was once an agricultural paradise. Now it’s an environmental disaster, a place of cracked earth and barren raisin farms. In their desperation, residents have turned to a cult leader named Pastor Vern for guidance. He promises, through secret “assignments,” to bring the rain everybody is praying for. Lacey has no reason to doubt the pastor. But then her life explodes in a single unimaginable act of abandonment: her mother, exiled from the community for her sins, leaves Lacey and runs off with a man she barely knows. Abandoned and distraught, Lacey May moves in with her widowed grandma, Cherry, who is more concerned with her taxidermy mouse collection than her own granddaughter. As Lacey May endures the increasingly appalling acts of men who want to write all the rules and begins to uncover the full extent of Pastor Vern’s shocking plan to bring fertility back to the land, she decides she must go on a quest to find her mother no matter what it takes. With her only guidance coming from the romance novels she reads and the unlikely companionship of the women who knew her mother, she must find her own way through unthinkable circumstances. Possessed of an unstoppable plot and a brilliantly soulful voice, Godshot is a book of grit and humor and heart, a debut novel about female friendship and resilience, mother–loss and motherhood, and seeking salvation in unexpected places. It introduces a writer who gives Flannery O’Connor’s Gothic parables a Californian twist and who emerges with a miracle that is all her own. “[A] haunting debut . . . This is a harrowing tale, which Bieker smartly writes through the lens of a teenager on the cusp of understanding the often fraught relationship between religion and sexuality . . . It's a timely and disturbing portrait of how easily men can take advantage of vulnerable women—and the consequences sink in more deeply with each page."—Annabel Gutterman, Time “Drawn in brilliant, bizarre detail—baptism in warm soda, wisdom from romance novels—Lacey's twin crises of faith and femininity tangle powerfully. Fiercely written and endlessly readable, a novel like this is a godsend. A–.”—Mary Sollosi, Entertainment Weekly