The Incest Diaries 1 And 2

Both novellas in one paperback book. Follow the odyssey of an 8-year-old girl named Becky, who, in book 1, writes in her diary about incest and the foster care system that let her down. Catch up with Becky as an adult in book 2.

Throughout her childhood and adolescence, the anonymous author of The Incest Diary was raped by her father. Beneath a veneer of normal family life, she grew up in and around this all-encompassing secret. Her sexual relationship with her father lasted, off and on, into her twenties. It formed her world, and it formed her deepest fears and desires. Even after she broke away, even as she grew into an independent and adventurous young woman, she continued to seek out new versions of the violence, submission and secrecy she had struggled to leave behind. In this graphic and harrowing memoir, the author revisits her early traumas and their aftermath - not from a clinical distance, but from deep within - to explore the ways in which her father's abuse shaped her, and still does. As a matter of psychic survival, she became both a sexual object and a detached observer, a dutiful daughter and the protector of a dirty secret. And then, years later, she made herself write it down. With lyric concision, in vignettes of almost unbearable intensity, this writer tells a story that is shocking but that will ring true to many other survivors of abuse. It has never been faced so directly on the page.

Anaïs Nin, the diarist, novelist, and provocateur, occupied a singular space in twentieth-century culture, not only as a literary figure and voice of female sexual liberation but as a celebrity and symbol of shifting social mores in postwar America. Before Madonna and her many imitators, there was Nin; yet, until now, there has been no major study of Nin as a celebrity figure. In Writing an Icon, Anita Jarczok reveals how Nin carefully crafted her literary and public personae, which she rewrote and restyled to suit her needs and desires. When the first volume of her diary was published in 1966, Nin became a celebrity, notorious beyond the artistic and literary circles in which she previously had operated. Jarczok examines the ways in which the American media appropriated and deconstructed Nin and analyzes the influence of Nin’s guiding hand in their construction of her public persona. The key to understanding Nin’s celebrity in its shifting forms, Jarczok contends, is the Diary itself, the principal vehicle through which her image has been mediated. Combining the perspectives of narrative and cultural studies, Jarczok traces the trajectory of Nin’s celebrity, the reception of her writings. The result is an innovative investigation of the dynamic relationships of Nin’s writing, identity, public image, and consumer culture.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 I had many therapists, and one of them was a beautiful woman who studied with Freud. I liked her until we got closer to the incest. When I was in college, I went to see her on Thursday afternoons. She wanted me to see a psychiatrist she worked with who would give me medication. #2 I had sex with my father when I was twenty-one. I was very wet, and I wanted his big hard cock deep inside me. I had never felt sexier. We didn’t say anything, and he went back to his bed. #3 I told my friend Katherine Huntington, a neighbor and family friend, the truth about my father having sex with me when I was a young child. She said to forget about it and get over it. She had been molested when she was a child, and her parents didn’t do anything about it. #4 I confronted my father about our incestuous relationship. He told me that he was sorry for all he’d done, and that he was quitting his job and traveling. I didn’t hear from him for months.

The author's diary includes details of her relationships with Henry Miller and his wife, June, Antonin Artaud, Rene Allendy, Otto Rank, and her father.

Now after 141 years, these diaries originally compiled in two manuscripts, are being published for the first time unedited and in thier entirety. Rarely are any new discoveries made of the written material on the American Civil War and this may be the last major find of Civil War period literature.

The acclaimed author travels across Ethiopia collecting folktales in this travelogue featuring many of the fabulous stories she heard. In 1967, at the age of 23, Elizabeth Laird set off for Addis Ababa, Ethiopia’s capital city, to start her first teaching job. She was introduced to Emperor Haile Selassie, made a pilgrimage across the mountains on foot to the ancient city of Lalibela, hitched a ride on an oil tanker across the Danakil Desert, and was arrested—briefly—for a murder she did not commit. Back in Britain, Laird established herself as a major author of fiction for children and young adults, but she always wanted to return to Ethiopia. Her chance came in the late 1990s, when the British Council in Addis Ababa invited her to collect folk stories from every region of the country. Encountering ex-guerrilla fighters, camel traders, Coptic nuns and tribespeople en route, Laird has written a remarkable account of her journey interwoven with a treasure trove of stories featuring princes and maidens, snakes and lions, zombies and hyena-women.

Redrawing established boundaries between genres, Podnieks builds a broad critical and theoretical range on which she maps the diary as an aesthetic work, showing how diaries inscribe the aesthetics of literary modernisms. Drawing on feminist theory, literary history, biography, and personal anecdotes, she argues that the diary is an especially subversive space for women writers. Podnieks details how Virginia Woolf, Antonia White, Elizabeth Smart, and Anaïs Nin wrote their diaries under the pretence that they were private, while always intending them to be published. She travelled extensively to examine the original diary manuscripts and offers unique first-hand descriptions of the manuscripts that underscore the artistic intentions of their authors. Daily Modernism contributes to the ongoing feminist revision of literary history and, in its disruption of traditional concepts of "major" and "minor" literary forms, paves the way for a much needed reconsideration of the diary as a valid literary achievement.