Wendy S Revenge

In Wendy’s Revenge, Scott’s titular heroine returns with a fresh set of awkward misadventures and messy nights out. When the book opens, aspiring artist Wendy has decided to move to the west coast to clear her head. She plans on getting some quality time with her collaborator and friend Winona, only to find Winona packing up to leave, having decided to move back in with her mom on the rez. All alone, Wendy endeavours to foster community in Vancouver’s bleak art scene. When her hope and optimism are all used up, she packs her bags for an artist residency in Japan. Wendy then gallery hops and parties around the globe until she stumbles upon the opportunity to unite with former foe Paloma. Together they enact revenge on VVURST, the German publication that once tore her performance art to shreds. Young artists struggle with mental health issues, they get wasted and hook up with men with gross piercings, and they’re afflicted with an insatiable longing for a stable identity—stability they themselves undermine. Scott’s deceptively simple, inky character drawings evoke millennial culture with such Jungian accuracy that you can’t help but stare and giggle in equal measure. Praised by The New Yorker, Guardian, Globe and Mail, and with an appearance in the Best American Comics anthology, it’s clear why Walter Scott’s Wendy comics have taken critics by storm.

Walter Scott’s Wendy comics have become a critical sensation, with rave reviews in The New Yorker and The Guardian, and an appearance in the Best American Comics anthology. Learn Wendy’s origin story as Scott hilariously plumbs millennial culture, creative ennui, and the nepotism of the art world’s institutions. Wendy’s an aspiring artist in a party city, and she’s in a rut. She spends her time snorting mdma in gallery bathrooms and watching Nurse Jackie reruns on her laptop while hungover. So when she’s accepted into the prestigious Flojo Island residency, Wendy vows to buckle down and get working. But during the remote, woodsy residency, Wendy and her collaborator/bff Winona put on a performance piece that becomes the centre of an art world controversy, and so Wendy returns to Montreal, getting a job in a coffee shop to make ends meet. With Wendy, Scott launches the Wendyverse, brimming with painfully relatable characters like the back-stabbing frenemy Tina, the name-dropping Paloma, the cool drummer Wendy obsesses over, Jeff, and of course, our treasured Wendy, the hot mess we can’t live without. In blunt, laugh out loud funny vignettes with perfect punchlines, Scott illuminates the opacity of artspeak and the ceaseless anxieties plaguing a largely privileged generation.

THE EXISTENTIAL DREAD OF MAKING (OR NOT MAKING) ART TAKES CENTER STAGE IN THIS TRENCHANT SATIRE OF MFA CULTURE Wendy is an aspiring contemporary artist whose adventures have taken her to galleries, art openings, and parties in Los Angeles, Tokyo, and Toronto. In Wendy, Master of Art, Walter Scott’s sly wit and social commentary zero in on MFA culture as our hero decides to hunker down and complete a master of fine arts at the University of Hell in small-town Ontario. Finally Wendy has space to refine her artistic practice, but in this calm, all of her unresolved insecurities and fears explode at full volume—usually while hungover. What is the post-Jungian object as symbol? Will she ever understand her course reading—or herself? What if she’s just not smart enough? As she develops as an artist and a person, Wendy also finds herself in a teaching position, mentoring a perpetually sobbing grade-grubbing undergrad. Scott’s incisively funny take on art school pretensions isn’t the only focus. Wendy, Master of Art explores the politics of open relationships and polyamoury, performative activism, the precarity of a life in the arts, as well as the complexities of gender identity, sex work, drug use, and more. At its heart, this is a book about the give and take of community - about someone learning how to navigate empathy and boundaries, and to respect herself. It is deeply funny and endlessly relatable as it shows Wendy growing up from Millennial art party girl to successful artist, friend, teacher—and Master of Art.

When an airport employee turns up dead in baggage claim upon their arrival in Athens, the Pinkerton Travel Group gets off to a rocky start. How far will travel agent, Yvonne Suarez go to keep her travel clients safe, and her tour on track? David Ludlow needs a vacation from his stressful job, and this itinerary to the land of mythology, Greek philosophers and early democrats was just the ticket to a leisurely escape, until grumpy passengers, missing museum art, and deathly accidents plagued their journey. Will Yvonne's fear of losing control stand in the way of solving these crimes? Who among her travel companions can she trust? Is David using Yvonne and her tour to solve his own dangerous mystery? Find the answers to these questions in the first novel in the new Yvonne Suarez Travel Mystery series.

Renaissance Revivals examines patterns in the London revivals of two English Renaissance theatre genres over the past four centuries. Griswold's focus on revenge tragedies and city comedies illuminates the ongoing interaction between society and its cultural products. No cultural object is ever created anew, she argues, but is instead constructed from existing cultural genres and conventions, the visions and professional needs of the artist, and the interests of an audience. Thus, every "new play" is in part a renaissance and every "revival" is in part an entirely new cultural object.

Sink into the joyous bestselling novel from Elizabeth Buchan about new beginnings and rediscovering the person you once were Rose Lloyd was the last to suspect that Nathan, her husband of over twenty years, was having an affair, and that he was planning to leave her. But the greatest shock was yet to come: his mistress was Rose's colleague and friend, Minty. Left alone in their once-happy family home, where she and Nathan had brought up their children, Rose started thinking - about the man she'd married, and how well she really knew him. About the carefree yet studious girl she had been before she met him. Twenty years ago she had to make the choice between two very different lives. Could she now recapture what she nearly chose back then, a life where she put herself first? Revenge of a Middle-Aged Woman is the compelling and heart-warming novel from bestselling author Elizabeth Buchan. Praise for Elizabeth Buchan: 'Gorgeously well-written - funny, sad, sophisticated' Independent 'Beautifully observed, with the insight and humour that one has come to expect from the author' Times 'Compelling, compassionate, and aglow with moments of laugh-or-cry humour' Mail on Sunday 'Buchan is a cut above the rest' Sunday Mirror

Susan and her friends must prepare for their most important battle with the vampire Richelieu, but they find themselves divided. Wendy has been kidnapped by a centuries-old enemy of her ancestor, Carissa. While they search frantically to save her, a greater danger threatens as Richelieu's army of vampires and humans fills the crevices of Europe. Susan learns the rest of the ill-fated romance between Carissa and the formidable vampire Gabriel of centuries ago and soon realizes that history is repeating. But it is the secret of the cross that might save them all if she can discover it in time.

Feminist critics place a premium on the "real" stories told by the victimized and the oppressed. Haunting Violations offers a corrective to such uncritical acceptance of the "real" in confessional, testimonial, and ethnographic narratives. Through close readings of a wide variety of texts, contributors argue that depictions of the "real" are inherently performative, crafted within the limits and in the interests of specific personal, political, or social projects. Haunting Violations explores the inseparability of discourse and politics in quasi-autobiographical works such as I, Rigoberta Menchú and When Heaven and Earth Changed Places. Contributors consider how the Sri Lankan Mother's Front movement exploits the sanctity of the maternal and how multiple political purposes on both sides bleed through government "documentary" photographs of Japanese-American concentration camp internees. This volume also investigates how South Asian feminists use the authority of their personal experience to critique the film Mississippi Masala and how realist narratives, such as Janet Campbell Hale's autobiographical Bloodlines, Margie Strosser's documentary film Rape Stories, and Shekur Kapur's film Bandit Queen, reexamine how assumptions about power and trauma are embedded in the promise of the real.