Homesickness

Homesickness today is dismissed as a sign of immaturity, what children feel at summer camp, but in the nineteenth century it was recognized as a powerful emotion. When gold miners in California heard the tune "Home, Sweet Home," they sobbed. When Civil War soldiers became homesick, army doctors sent them home, lest they die. Such images don't fit with our national mythology, which celebrates the restless individualism of colonists, explorers, pioneers, soldiers, and immigrants who supposedly left home and never looked back. Using letters, diaries, memoirs, medical records, and psychological studies, this wide-ranging book uncovers the profound pain felt by Americans on the move from the country's founding until the present day. Susan Matt shows how colonists in Jamestown longed for and often returned to England, African Americans during the Great Migration yearned for their Southern homes, and immigrants nursed memories of Sicily and Guadalajara and, even after years in America, frequently traveled home. These iconic symbols of the undaunted, forward-looking American spirit were often homesick, hesitant, and reluctant voyagers. National ideology and modern psychology obscure this truth, portraying movement as easy, but in fact Americans had to learn how to leave home, learn to be individualists. Even today, in a global society that prizes movement and that condemns homesickness as a childish emotion, colleges counsel young adults and their families on how to manage the transition away from home, suburbanites pine for their old neighborhoods, and companies take seriously the emotional toll borne by relocated executives and road warriors. In the age of helicopter parents and boomerang kids, and the new social networks that sustain connections across the miles, Americans continue to assert the significance of home ties. By highlighting how Americans reacted to moving farther and farther from their roots, Homesickness: An American History revises long-held assumptions about home, mobility, and our national identity.

A blockbuster collection from one of Ireland’s most exciting young voices: “Sharp and lively . . . a rough, charged, and surprisingly fun read” (Interview). A National Book Foundation 5 Under 35 Honoree * Winner of the Frank O’Connor International Short Story Award * Winner of the Guardian First Book Award * Winner of the Rooney Prize for Irish Literature Enter the small, rural town of Glanbeigh, a place whose fate took a downturn with the Celtic Tiger, a desolate spot where buffoonery and tension simmer and erupt, and booze-sodden boredom fills the corners of every pub and nightclub. Here, and in the towns beyond, the young live hard and wear the scars. Amongst them, there’s jilted Jimmy, whose best friend Tug is the terror of the town and Jimmy’s sole company in his search for the missing Clancy kid; Bat, a lovesick soul with a face like “a bowl of mashed up spuds” even before Nubbin Tansey’s boot kicked it in; and Arm, a young and desperate criminal whose destiny is shaped when he and his partner, Dympna, fail to carry out a job. In each story, a local voice delineates the grittiness of post boom Irish society. These are unforgettable characters rendered through silence, humor, and violence. “Lyrical and tough and smart . . . What seems to be about sorrow and foreboding turns into an adventure, instead, in the tender art of the unexpected.” —Anne Enright, Man Booker Prize Award–winning author “Sometimes comic, sometimes melancholy, Young Skins touches the heart, as well as the mind.” —Irish American Post

The coming of age story of an award-winning translator, Homesick is about learning to love language in its many forms, healing through words and the promises and perils of empathy and sisterhood. Sisters Amy and Zoe grow up in Oklahoma where they are homeschooled for an unexpected reason: Zoe suffers from debilitating and mysterious seizures, spending her childhood in hospitals as she undergoes surgeries. Meanwhile, Amy flourishes intellectually, showing an innate ability to glean a world beyond the troubles in her home life, exploring that world through languages first. Amy's first love appears in the form of her Russian tutor Sasha, but when she enters university at the age of 15 her life changes drastically and with tragic results. "Croft moves quickly between powerful scenes that made me think about my own sisters. I love how the language displays a child's consciousness. A haunting accomplishment." Kali Fajardo-Anstine

An insightful and powerful look at the magic of summer camp—and why it is so important for children to be away from home . . . if only for a little while. In an age when it’s the rare child who walks to school on his own, the thought of sending your “little ones” off to sleep-away camp can be overwhelming—for you and for them. But parents’ first instinct—to shelter their offspring above all else—is actually depriving kids of the major developmental milestones that occur through letting them go—and watching them come back transformed. In Homesick and Happy, renowned child psychologist Michael Thompson, PhD, shares a strong argument for, and a vital guide to, this brief loosening of ties. A great champion of summer camp, he explains how camp ushers your children into a thrilling world offering an environment that most of us at home cannot: an electronics-free zone, a multigenerational community, meaningful daily rituals like group meals and cabin clean-up, and a place where time simply slows down. In the buggy woods, icy swims, campfire sing-alongs, and daring adventures, children have emotionally significant and character-building experiences; they often grow in ways that surprise even themselves; they make lifelong memories and cherished friends. Thompson shows how children who are away from their parents can be both homesick and happy, scared and successful, anxious and exuberant. When kids go to camp—for a week, a month, or the whole summer—they can experience some of the greatest maturation of their lives, and return more independent, strong, and healthy.

A New York Times Book Review Notable Book of 2017 An electrifying first collection from one of the most exciting short story writers of our time "I can’t recall the last time I laughed this hard at a book. Simultaneously, I’m shocked and scandalized. She’s brilliant, this young woman."—David Sedaris Ottessa Moshfegh's debut novel Eileen was one of the literary events of 2015. Garlanded with critical acclaim, it was named a book of the year by The Washington Post and the San Francisco Chronicle, nominated for a National Book Critics Circle Award, short-listed for the Man Booker Prize, and won the PEN/Hemingway Award for debut fiction. But as many critics noted, Moshfegh is particularly held in awe for her short stories. Homesick for Another World is the rare case where an author's short story collection is if anything more anticipated than her novel. And for good reason. There's something eerily unsettling about Ottessa Moshfegh's stories, something almost dangerous, while also being delightful, and even laugh-out-loud funny. Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. Homesick for Another World is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion. Moshfegh is our Flannery O'Connor, and Homesick for Another World is her Everything That Rises Must Converge or A Good Man is Hard to Find. The flesh is weak; the timber is crooked; people are cruel to each other, and stupid, and hurtful. But beauty comes from strange sources. And the dark energy surging through these stories is powerfully invigorating. We're in the hands of an author with a big mind, a big heart, blazing chops, and a political acuity that is needle-sharp. The needle hits the vein before we even feel the prick.

The story of a personal housing crisis that led to a discovery of the true value of home. 'Incredibly moving. To find peace and a sense of home after a life so profoundly affected by the housing crisis, is truly inspirational' Raynor Winn, bestselling author of The Salt Path Aged thirty-one, Catrina Davies was renting a box-room in a house in Bristol, which she shared with four other adults and a child. Working several jobs and never knowing if she could make the rent, she felt like she was breaking apart. Homesick for the landscape of her childhood, in the far west of Cornwall, Catrina decides to give up the box-room and face her demons. As a child, she saw her family and their security torn apart; now, she resolves to make a tiny, dilapidated shed a home of her own. With the freedom to write, surf and make music, Catrina rebuilds the shed and, piece by piece, her own sense of self. On the border of civilisation and wilderness, between the woods and the sea, she discovers the true value of home, while trying to find her place in a fragile natural world. This is the story of a personal housing crisis and a country-wide one, grappling with class, economics, mental health and nature. It shows how housing can trap us or set us free, and what it means to feel at home.

Introducing a posthumanist concept of nostalgia to analyze steadily widening themes of animality, home, travel, slavery, shopping, and war in U.S. literature after 1945 In the Anthropocene, as climate change renders environments less stable, the human desire for place underscores the weakness of the individual in the face of the world. In this book, Ryan Hediger introduces a distinctive notion of homesickness, one in which the longing for place demonstrates not only human vulnerability but also intersubjectivity beyond the human. Arguing that this feeling is unavoidable and characteristically posthumanist, Hediger studies the complex mix of attitudes toward home, the homely, and the familiar in an age of resurgent cosmopolitanism, especially eco-cosmopolitanism. Homesickness closely examines U.S. literature mostly after 1945, including prominent writers such as Annie Proulx, Marilynne Robinson, and Ernest Hemingway, in light of the challenges and themes of the Anthropocene. Hediger argues that our desire for home is shorthand for a set of important hopes worth defending—serious and genuine relationships to places and their biotic regimes and landforms; membership in vital cultures, human and nonhuman; resistance to capital-infused forms of globalization that flatten differences and turn life and place into mere resources. Our homesickness, according to Hediger, is inevitable because the self is necessarily constructed with reference to the material past. Therefore, homesickness is not something to dismiss as nostalgic or reactionary but is rather a structure of feeling to come to terms with and even to cultivate. Recasting an expansive range of fields through the lens of homesickness—from ecocriticism to animal studies and disability studies, (eco)philosophy to posthumanist theory—Homesickness speaks not only to the desire for a physical structure or place but also to a wide range of longings and dislocations, including those related to subjectivity, memory, bodies, literary form, and language.

This special issue of 'Laterality' brings together contributions both from researchers studying human populations and those using animal models, and includes a discussion of the current important issues in the field of lateralisation of function.