The Passionate Mistakes And Intricate Corruption Of One Girl In America New Edition

Published by Semiotext(e) to critical acclaim in 1998, Michelle Tea's debut novel The Passionate Mistakes and Intricate Corruption of One Girl in Americaquickly established Tea as an exciting new literary talent and the voice of a new generation of queer, bisexual, transgendered, and straight youth. The Village Voicecalled Passionate Mistakes"the legacy of thirty years of feminism," and Eileen Myles, writing in the Nation,hailed the novel as "a hunk of lyric information that coolly, then frantically, describes the car wreck of her generation." The too-smart, caustic, and radiant narrator of Passionate Mistakesis, at twenty-seven, an ex-Goth, ex-drummer, ex-straight girl, ex-lesbian separatist vegan graduate of vocational high school in the working class town of Chelsea, Massachusetts. Written with lyrical precision and charm, the novel describes a journey with no final destination, a fast-paced and picaresque road trip that yields a redemptive vision of an America that has nothing left to offer its youth. This new edition of a Semiotext(e) classic includes critical essays by Brandon Stosuy and Eileen Myles that describe Michelle Tea's achievement as a literary innovator and cultural icon.

Queer Commoditiesis the first book-length analysis of same-sexuality and consumer capitalism in contemporary US fiction. Moving beyond the critical tendencies to identify gay and lesbian subcultures as either hopelessly immersed in consumer capitalism or heroically resistant to it, Guy Davidson argues that while these subcultures are necessarily commodified, they also provide means of subversively negotiating aspects of life under capitalism.

The Routledge Dictionary of Modern American Slang offers the ultimate record of modern, post WW2 American Slang. The 25,000 entries are accompanied by citations that authenticate the words as well as offer examples of usage from popular literature, newspapers, magazines, movies, television shows, musical lyrics, and Internet user groups. Etymology, cultural context, country of origin and the date the word was first used are also provided. In terms of content, the cultural transformations since 1945 are astounding. Television, computers, drugs, music, unpopular wars, youth movements, changing racial sensitivities and attitudes towards sex and sexuality are all substantial factors that have shaped culture and language. This new edition includes over 500 new headwords collected with citations from the last five years, a period of immense change in the English language, as well as revised existing entries with new dating and citations. No term is excluded on the grounds that it might be considered offensive as a racial, ethnic, religious, sexual or any kind of slur. This dictionary contains many entries and citations that will, and should, offend. Rich, scholarly and informative, The Routledge Dictionary of Modern American Slang and Unconventional English is an indispensable resource for language researchers, lexicographers and translators.

The PEN Award-winning essay collection about queer lives: “Gorgeously punk-rock rebellious.”—The A.V. Club The razor-sharp but damaged Valerie Solanas; a doomed lesbian biker gang; recovering alcoholics; and teenagers barely surviving at an ice creamery: these are some of the larger-than-life, yet all-too-human figures populating America’s fringes. Rife with never-ending fights and failures, theirs are the stories we too often try to forget. But in the process of excavating and documenting these queer lives, Michelle Tea also reveals herself in unexpected and heartbreaking ways. Delivered with her signature honesty and dark humor, this is the first-ever collection of journalistic writing by the author of How to Grow Up and Valencia. As she blurs the line between telling other people’s stories and her own, she turns an investigative eye to the genre that’s nurtured her entire career—memoir—and considers the price that art demands be paid from life. “Eclectic and wide-ranging…A palpable pain animates many of these essays, as well as a raucous joy and bright curiosity.” —The New York Times “Queer counterculture beats loud and proud in Tea’s stellar collection.” —Publishers Weekly (starred) “The best essay collection I've read in years.”—The New Republic Winner of the PEN/Diamonstein-Spielvogel Award for the Art of the Essay

Has the third wave of feminism in the United States spawned a literary movement? Is there a third wave equivalent of the consciousness-rasing novel? A lot has been written about the relationship of the third wave of feminism in the United States to the second wave, yet no one has examined works by young female writers as belonging to the third wave of feminism. This book fills the gap. Using tools of literary criticism to analyze the literary output of third wave feminism in the United States, Ungrateful Daughters looks at the main anthologies of third wave writings, paying attention to their structure, production process and narrative forms used in the individual pieces. It also attempts to define third wave fiction and analyze the memoirs and novels coming from writers who could be classified as third wave (specifically, Rebecca Walker, Danzy Senna and Michelle Tea), tracing how these books exhibit “third wave sensibility” and reflect generational experiences of third wave writers. A lot of attention is devoted to comparisons of second and third wave feminism and the ambivalent relationship of third wave feminism to postfeminism. Wendy Kaminer wrote in True Love Waits: “If it ultimately fails as a liberation movement, feminism will at least have achieved considerable literary success.” Ungrateful Daughters examines whether the literary success helps or hinders the cause of women’s liberation.

Booklist Top of the List Reference Source The heir and successor to Eric Partridge's brilliant magnum opus, The Dictionary of Slang and Unconventional English, this two-volume New Partridge Dictionary of Slang and Unconventional English is the definitive record of post WWII slang. Containing over 60,000 entries, this new edition of the authoritative work on slang details the slang and unconventional English of the English-speaking world since 1945, and through the first decade of the new millennium, with the same thorough, intense, and lively scholarship that characterized Partridge's own work. Unique, exciting and, at times, hilariously shocking, key features include: unprecedented coverage of World English, with equal prominence given to American and British English slang, and entries included from Australia, New Zealand, Canada, India, South Africa, Ireland, and the Caribbean emphasis on post-World War II slang and unconventional English published sources given for each entry, often including an early or significant example of the term’s use in print. hundreds of thousands of citations from popular literature, newspapers, magazines, movies, and songs illustrating usage of the headwords dating information for each headword in the tradition of Partridge, commentary on the term’s origins and meaning New to this edition: A new preface noting slang trends of the last five years Over 1,000 new entries from the US, UK and Australia New terms from the language of social networking Many entries now revised to include new dating, new citations from written sources and new glosses The New Partridge Dictionary of Slang and Unconventional English is a spectacular resource infused with humour and learning – it’s rude, it’s delightful, and it’s a prize for anyone with a love of language.

The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.

Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce art to politics and are hostile to any form of aesthetic pleasure. Literature after Feminism is the first work to comprehensively rebut such caricatures, while also offering a clear-eyed assessment of the relative merits of various feminist approaches to literature. Spelling out her main arguments clearly and succinctly, Rita Felski explains how feminism has changed the ways people read and think about literature. She organizes her book around four key questions: Do women and men read differently? How have feminist critics imagined the female author? What does plot have to do with gender? And what do feminists have to say about the relationship between literary and political value? Interweaving incisive commentary with literary examples, Felski advocates a double critical vision that can do justice to the social and political meanings of literature without dismissing or scanting the aesthetic.