I Am A Beautiful Monster

The first definitive edition in English of writings by poet, painter, pickpocket-plagiarist, and consummate anti-artist Francis Picabia, one of Dada's leading figures. Poet, painter, self-described funny guy, idiot, failure, pickpocket, and anti-artist par excellence, Francis Picabia was a defining figure in the Dada movement; indeed, André Breton called Picabia one of the only “true” Dadas. Yet very little of Picabia's poetry and prose has been translated into English, and his literary experiments have never been the subject of close critical study. I Am a Beautiful Monster is the first definitive edition in English of Picabia's writings, gathering a sizable array of Picabia's poetry and prose and, most importantly, providing a critical context for it with an extensive introduction and detailed notes by the translator. Picabia's poetry and prose is belligerent, abstract, polemical, radical, and sometimes simply baffling. For too long, Picabia's writings have been presented as raw events, rule-breaking manifestations of inspirational carpe diem. This book reveals them to be something entirely different: maddening in their resistance to meaning, full of outrageous posturing, and hiding a frail, confused, and fitful personality behind egoistic bravura. I Am a Beautiful Monster provides the texts of of Picabia's significant publications, all presented complete, many of them accompanied by their original illustrations.

In 1916, as World War I raged around them, a group of bohemians gathered at a small nightclub in Zurich, Switzerland for a series of bizarre performances. Three readers simultaneously recited a poem in three languages; a monocle-wearing teenager performed a spell from New Zealand; another young man flung bits of papier-mâché into the air and glued them into place where they landed. One of these artists called the sessions “both buffoonery and a requiem mass.” Soon they would be known by a more evocative name: Dada. In Destruction Was My Beatrice, modernist scholar Jed Rasula presents the first narrative history of the emergence, decline, and legacy of Dada, showing how this strange artistic phenomenon spread across Europe and then the world in the wake of the Great War, fundamentally reshaping modern culture in ways we’re still struggling to understand today.

A breathtaking, exquisitely crafted memoir about a trans person’s singular journey through breaching the boundaries of gender—across generations, cultures and borders—to become his truest, most authentic self. Nearing the age of forty, with an entire life already lived as a woman—half in Colombia, half in the US—Miles Borrero comes face to face with his father’s impending death. Suddenly realizing that he has been stalling his transition for fear of losing his family’s love, this moment catalyzes Miles’s determination to be fully known as his father’s son before it is too late. In Beautiful Monster, Miles chronicles his unusual childhood, by turns riveting and hilarious, in ’80s and ’90s Colombia during the Pablo Escobar years, as well as his move to Salt Lake City to pursue acting and the winding trajectory that eventually lands him in the New York City yoga scene. Within these very different cultures, the realities of being queer and trans echo poignantly through the triumphs, heartbreaks, family dynamics, spiritual pursuits, and relationships that propel Miles along his path. Sublimely nuanced and written in ravishing prose that is as unique and irresistible as its subject, Beautiful Monster is one person’s story of navigating the pressures to perform femininity while becoming a gender outlaw. Brimming with wonder, humor, and mythos, entertaining and enlightening in equal measure, this book offers a compelling case for embracing one’s true nature.

"In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Leger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming of Modern Life, Malcolm Turvey examines five films from the avant-garde canon and the complex, sometimes contradictory, attitudes toward modernity they express: Rhythm 21 (Hans Richter, 1921), Ballet mecanique (Dudley Murphy and Fernand Léger, 1924), Entr'acte (Francis Picabia and René Clair, 1924), Un chien Andalou (Salvador Dali and Luis Buñuel, 1929), and Man with a Movie Camera (Dziga Vertov, 1929). All exemplify major trends within European avant-garde cinema of the time, from abstract animation to "cinema pur."

How did the avant-garde imagine its interconnected world? And how does this legacy affect our understanding of the global today? The writers and artists of the French avant-garde aspired to reach a global audience that would be wholly transformed by their work. In this study, Effie Rentzou delves deep into their depictions of the interwar world as an international and modern landscape, one marked by a varied cosmopolitanism. The avant-garde’s conceptualization of the world paralleled, rejected, or expanded prevailing notions of the global sphere. The historical avant garde—which encompassed movements like futurism, Dada, and surrealism—was self-consciously international, operating across global networks and developed with the whole world as its horizon and its public. In the heady period between the end of the Belle Époque and the tumult of World War II, both individual artists (including Guillaume Apollinaire, Blaise Cendrars, Francis Picabia, Louis Aragon, Leonora Carrington, and Nicolas Calas) and collective endeavors (such as surrealist magazines and exhibitions) grappled with contemporary anxieties about economic growth, imperialism, and colonialism, as well as various universalist, cosmopolitan, and internationalist visions. By probing these works, Concepts of the World offers an alternative narrative of globalization, one that integrates the avant-garde’s enthusiasm for, as well as resistance to, the process. Rentzou identifies within the avant-garde a powerful political language that expressed the ambivalence of living and creating in an increasingly globalized world—a language that profoundly shaped the way the world has been conceptualized and is experienced today.

"There are so many moments that I could have done differently, so many words I wish I could take back. Hit pause, step out of the scene and tweak the narrative, shovel the context, and change the outcome. But who would that make me, where would I be, and how different would my life have become?" How do you, as a man, speak out about abuse? When, as a boy, you're taught not to cry or be too sensitive. To keep your emotions closed off from everybody else. You hold your story and your feelings so near to you in an attempt to stay in control. While your shame burns and grows like the scars in your mind, left there by her words. And the ones on your body carved there by her hands.How do you fight when she consumes you. Her face appearing literally in every frame on the walls that surround you? You are more loyal to her than any of her addictions. Who are you to claim she hurt you? To allow your pain to leak out? You know you'd never be able to quantify the guilt if you were to shout a little louder, hit back! How do you love her so much that you've made peace with the notion that staying means you'll die there, but leaving is not an option?

Ye Feng, who once stood at the peak of the world and made the world tremble. Conspiracy had allowed him to be reborn into a useless cripple with the same surname and surname. And to see, how could Ye Feng return to the peak from being a loser. As long as I, Ye Feng, am not dead, I will make the world cry.

This is a unique book about domestic abuse, fighting cancer, drunk driving, texting and driving, teenage pregnancy, suicide, addiction, bullies, love, dating, marriage, betrayal, rebounding, loneliness, current events, celebrities, super heroes, mentoring and much more. What is unique about it? It is done in poetry form and each poem has websites and phone numbers for easy reference plus full page hand drawn illustrations that match each poem. I guess I would name it self help poetry if I had to put a label on it. Enjoy!