How To Go Mad Without Losing Your Mind

La Marr Jurelle Bruce ponders the presence of "madness" in black literature, music, and performance since the early twentieth century, showing how artist ranging from Kendrick Lamar and Lauryn Hill to Nina Simone and Dave Chappelle activate madness as content, form, aesthetic, strategy, philosophy, and energy in an enduring black radical tradition.

In 1981, Toronto activist Mel Starkman wrote: "An important new movement is sweeping through the western world.... The 'mad, ' the oppressed, the ex-inmates of society's asylums are coming together and speaking for themselves." Mad Matters is the first Canadian book to bring together the writings of this vital movement, which has grown explosively in the years since. With contributions from scholars in numerous disciplines, as well as activists and psychiatric survivors, it presents diverse critical voices that convey the lived experiences of the psychiatrized and challenges dominant understandings of "mental illness." The connections between mad activism and other liberation struggles are stressed throughout, making the book a major contribution to the literature on human rights and anti-oppression.

'Genuinely empowering' Daisy Buchanan 'An invaluable guide to surviving professional life' Viv Groskop 'Comforting during these uncertain times' Yomi Adegoke Award-winning journalist and editor-in-chief Cate Sevilla has survived the messy, stressy and sometimes bizarre world of work - just. In How to Work Without Losing Your Mind, she gives an unflinchingly honest account of the bad bosses, the time spent crying in work loos, the hell and humiliation of her working life but, most importantly, she reveals the solid self-belief, the sage advice and the hard-won lessons that got her through. Filled with humour, wit and supportive words, this book is your essential guide to fixing your relationship with your work. Press it into the hands of every womxn who is sinking in a toxic work environment, battling burnout, recovering from redundancy or trying to find the right career fit. 'Entertaining and practical; moving and funny; a helping hand from someone who's been through it' Emma Gannon, Sunday Times bestselling author

For most North Americans--Canadians as well as Americans--the term "Western" evokes images of the frontier, brave sheriffs and ruthless outlaws, good cowboys and bad Indians. As Arnold E. Davidson shows in this groundbreaking study, a number of Canada's most interesting and experimental Western writers parody, reverse, or otherwise defuse the paraphernalia of the classic U.S. Western. Lacking both a real and imagined frontier--Canadian settlers rode trains into the new territory, already policed by Mounties--the writers of Canadian Westerns were set a different task from their American counterparts and were subsequently freed to create some of the most complex and engrossing fiction yet produced in Canada. Davidson details the evolution of the U.S. and Canadian Western forms, tracing the divergence between the two as Canadian writers responded to their unique historical circumstances by reinventing the West as well as the Western and establishing a new literary landscape where author and reader could work out new possibilities of being. Surveying a range of texts by Canada's most innovative writers, with special attention to women writers and Native stories of Coyote, he provides close readings of novels by Howard O'Hagan, Sheila Watson, Robert Kroetsch, Aritha van Herk, Anne Cameron, Peter Such, W. O. Mitchell, Beatrice Culleton, and Thomas King. A unique study, Coyote Country offers at one and the same time a theory of Canadian Western fiction, a history of crosscultural paradigms of the West as manifested in novels, and an intensive reading of some of Canada's best literature.

During its first six years (1986-1991), the journal Cultural Anthropology provided a unique forum for registering the lively traffic between anthropology and the emergent arena of cultural studies. The nineteen essays collected in Rereading Cultural Anthropology, all of which originally appeared in the journal, capture the range of approaches, internal critiques, and new questions that have characterized the study of anthropology in the 1980s, and which set the agenda for the present. Drawing together work by both younger and well-established scholars, this volume reveals various influences in the remaking of traditions of ethnographic work in anthropology; feminist studies, poststructuralism, cultural critiques, and disciplinary challenges to established boundaries between the social sciences and humanities. Moving from critiques of anthropological representation and practices to modes of political awareness and experiments in writing, this collection offers systematic access to what is now understood to be a fundamental shift (still ongoing) in anthropology toward engagement with the broader interdisciplinary stream of cultural studies. Contributors. Arjun Appadurai, Keith H. Basso, David B. Coplan, Vincent Crapanzano, Faye Ginsburg, George E. Marcus, Enrique Mayer, Fred Meyers, Alcida R. Ramos, John Russell, Orin Starn, Kathleen Stewart, Melford E. Spiro, Ted Swedenburg, Michael Taussig, Julie Taylor, Robert Thornton, Stephen A. Tyler, Geoffrey M. White

Bring on the Books for Everybody is an engaging assessment of the robust popular literary culture that has developed in the United States during the past two decades. Jim Collins describes how a once solitary and print-based experience has become an exuberantly social activity, enjoyed as much on the screen as on the page. Fueled by Oprah’s Book Club, Miramax film adaptations, superstore bookshops, and new technologies such as the Kindle digital reader, literary fiction has been transformed into best-selling, high-concept entertainment. Collins highlights the infrastructural and cultural changes that have given rise to a flourishing reading public at a time when the future of the book has been called into question. Book reading, he claims, has not become obsolete; it has become integrated into popular visual media. Collins explores how digital technologies and the convergence of literary, visual, and consumer cultures have changed what counts as a “literary experience” in phenomena ranging from lush film adaptations such as The English Patient and Shakespeare in Love to the customer communities at Amazon. Central to Collins’s analysis and, he argues, to contemporary literary culture, is the notion that refined taste is now easily acquired; it is just a matter of knowing where to access it and whose advice to trust. Using recent novels, he shows that the redefined literary landscape has affected not just how books are being read, but also what sort of novels are being written for these passionate readers. Collins connects literary bestsellers from The Jane Austen Book Club and Literacy and Longing in L.A. to Saturday and The Line of Beauty, highlighting their depictions of fictional worlds filled with avid readers and their equations of reading with cultivated consumer taste.

DIVTheoretical study of the relationship between technoscience and the human body that examines the ways in which bodies and machines "speak" not just through language but also through gesture, numbers, and other non-alphabetic systems of expressio/div

In Black Madness :: Mad Blackness Therí Alyce Pickens rethinks the relationship between Blackness and disability, unsettling the common theorization that they are mutually constitutive. Pickens shows how Black speculative and science fiction authors such as Octavia Butler, Nalo Hopkinson, and Tananarive Due craft new worlds that reimagine the intersection of Blackness and madness. These creative writer-theorists formulate new parameters for thinking through Blackness and madness. Pickens considers Butler's Fledgling as an archive of Black madness that demonstrates how race and ability shape subjectivity while constructing the building blocks for antiracist and anti-ableist futures. She examines how Hopkinson's Midnight Robber theorizes mad Blackness and how Due's African Immortals series contests dominant definitions of the human. The theorizations of race and disability that emerge from these works, Pickens demonstrates, challenge the paradigms of subjectivity that white supremacy and ableism enforce, thereby pointing to the potential for new forms of radical politics.