Writing Rogues

Plot elements such as adventure, travel to far-flung regions, the criminal underworld, and embezzlement schemes are not usually associated with Soviet literature, yet an entire body of work produced between the October Revolution and the Stalinist Great Terror was constructed around them. In Writing RoguesCassio de Oliveira sheds light on the picaresque and its marginal characters – rogues and storytellers – who populated the Soviet Union on paper and in real life. The picaresque afforded authors the means to articulate and reflect on the Soviet collective identity, a class-based utopia that rejected imperial power and attempted to deemphasize national allegiances. Combining new readings of canonical works with in-depth analysis of neglected texts, Writing Rogues explores the proliferation of characters left on the sidelines of the communist transition, including gangsters, con men, and petty thieves, many of them portrayed as ethnic minorities. The book engages with scholarship on Soviet subjectivity as well as classical picaresque literature in order to explain how the subversive rogue – such as Ilf and Petrov’s wildly popular cynic and schemer Ostap Bender – in the process of becoming a fully fledged Soviet citizen, came to expose and embody the contradictions of Soviet life itself. Writing Rogues enriches our understanding of how literature was called upon to participate in the construction of Soviet identity. It demonstrates that the Soviet picaresque resonated with individual citizens’ fears and aspirations as it recorded the country’s transformation into the first communist state.

Plot elements such as adventure, travel to far-flung regions, the criminal underworld, and embezzlement schemes are not usually associated with Soviet literature, yet an entire body of work produced between the October Revolution and the Stalinist Great Terror was constructed around them. In Writing RoguesCassio de Oliveira sheds light on the picaresque and its marginal characters – rogues and storytellers – who populated the Soviet Union on paper and in real life. The picaresque afforded authors the means to articulate and reflect on the Soviet collective identity, a class-based utopia that rejected imperial power and attempted to deemphasize national allegiances. Combining new readings of canonical works with in-depth analysis of neglected texts, Writing Rogues explores the proliferation of characters left on the sidelines of the communist transition, including gangsters, con men, and petty thieves, many of them portrayed as ethnic minorities. The book engages with scholarship on Soviet subjectivity as well as classical picaresque literature in order to explain how the subversive rogue – such as Ilf and Petrov’s wildly popular cynic and schemer Ostap Bender – in the process of becoming a fully fledged Soviet citizen, came to expose and embody the contradictions of Soviet life itself. Writing Rogues enriches our understanding of how literature was called upon to participate in the construction of Soviet identity. It demonstrates that the Soviet picaresque resonated with individual citizens’ fears and aspirations as it recorded the country’s transformation into the first communist state.

In the past, our ideas of psychiatric hospitals and their history have been shaped by objects like straitjackets, cribs, and binding belts. These powerful objects were often used as a synonym for psychiatry and the way psychiatric patients were treated, yet very little is known about the agency of these objects and their appropriation by staff and patients. By focusing on material cultures, this book offers a new perspective on the history of psychiatry: it enables a narrative in which practicing psychiatry is part of a complex entanglement in which power is constantly negotiated. Scholars from different academic disciplines show how this material-based approach opens up new perspectives on the agency and imagination of men and women inside psychiatry.

In this “hypnotic, violent, unsparing” (A.J. Banner, USA TODAY bestselling author) thriller from the author of the “haunting, twisting thrill ride” (Megan Miranda, New York Times bestselling author) The River at Night, a young woman leaves behind everything she knows to take on the Bolivian jungle, but her excursion abroad quickly turns into a fight for her life. Lily Bushwold thought she’d found the antidote to endless foster care and group homes: a gig teaching English in Cochabamba, Bolivia. As soon as she could steal enough cash for the plane, she was on it. But the program was a scam. And bonding with other broke, rudderless girls in the local youth hostel wasn’t the answer. Falling crazy in love with Omar, a savvy, handsome local who’d left his life as a hunter in Ayachero—a remote jungle village—to try city life: this was the last thing Lily could have imagined. When Omar learns that a jaguar had killed his four-year-old nephew in Ayachero, he gives Lily a choice: stay alone in the unforgiving city, or travel to the last in the ever-more-isolated string of river towns in the jungles of Bolivia. Thirty-foot anacondas? Puppy-sized spiders? Vengeful shamans with unspeakable powers? None of it matters to love-struck Lily. She follows Omar to a ruthless new world of lawless poachers, bullheaded missionaries, and desperate indigenous tribes driven to the brink of extinction. To survive, Lily must navigate the jungle—and all its residents—using only her wits and resilience. “Gripping, breathtaking, and exquisitely told—Into the Jungle pulls you into another world, returning you forever transformed” (Wendy Walker, USA TODAY bestselling author).

Stifled by a soul-crushing job, devastated by the death of her beloved brother, and lonely after the end of a fifteen-year marriage, Wini is feeling vulnerable. So when her three best friends insist on a high-octane getaway for their annual girls' trip, she signs on, despite her misgivings. A freak accident leaves the women stranded, separating them from their raft and everything they need to survive. When night descends, a fire on the mountainside lures them to a ramshackle camp that appears to be their lifeline. But as Wini and her friends grasp the true intent of their supposed saviors, long buried secrets emerge and lifelong allegiances are put to the test.

They're here. They ride. The Four Horsemen of the Apocalypse. Born of a match between good and evil, four siblings stand between hell's minions and everything they want to destroy. They are the Lords of Deliverance, and they have the power to ward off Doomsday . . . or let it ride . . . Rogue Rider Jillian Cardiff came to this remote mountain town to forget the demon attack that almost killed her. Instead, she rescues-and falls for-a gorgeous stranger who has no memory of anything other than his name. Handsome, charming, and protective, Reseph seems like the kind of man whom Jillian can trust. But with hints of a troubling history of his own, he's also the kind of man who can be very dangerous . . . Reseph may not know why he mysteriously appeared in Jillian's life, but he knows he wants to stay. Yet when Jillian's neighbors are killed, and demon hunters arrive on the scene, Reseph fears that he's putting Jillian in danger. And once it's revealed that Reseph is also Pestilence, the Horseman responsible for ravaging the world, he and Jillian must face the greatest challenge of all: Can they forget the horrors of a chilling past to save the future they both desire?

An examination of how nonprofessional archivists, especially media fans, practice cultural preservation on the Internet and how “digital cultural memory” differs radically from print-era archiving. The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists—fans, pirates, hackers—have become practitioners of cultural preservation on the Internet. These nonprofessional archivists have democratized cultural memory, building freely accessible online archives of whatever content they consider suitable for digital preservation. In Rogue Archives, Abigail De Kosnik examines the practice of archiving in the transition from print to digital media, looking in particular at Internet fan fiction archives. De Kosnik explains that media users today regard all of mass culture as an archive, from which they can redeploy content for their own creations. Hence, “remix culture” and fan fiction are core genres of digital cultural production. De Kosnik explores, among other things, the anticanonical archiving styles of Internet preservationists; the volunteer labor of online archiving; how fan archives serve women and queer users as cultural resources; archivists' efforts to attract racially and sexually diverse content; and how digital archives adhere to the logics of performance more than the logics of print. She also considers the similarities and differences among free culture, free software, and fan communities, and uses digital humanities tools to quantify and visualize the size, user base, and rate of growth of several online fan archives.

With characteristic lawlessness and connection to the common man, the figure of the rogue commanded the world of Irish fiction from 1660 to 1790. During this period of development for the Irish novel, this archetypal figure appears over and over again. Early Irish fiction combined the picaresque genre, focusing on a cunning, witty trickster or pícaro, with the escapades of real and notorious criminals. On the one hand, such rogue tales exemplified the English stereotypes of an unruly Ireland, but on the other, they also personified Irish patriotism. Existing between the dual publishing spheres of London and Dublin, the rogue narrative explored the complexities of Anglo-Irish relations. In this volume, Lines investigates why writers during the long eighteenth-century so often turned to the rogue narrative to discuss Ireland. Alongside recognized works of Irish fiction, such as those by William Chaigneau, Richard Head, and Charles Johnston, Lines presents lesser-known and even anonymous popular texts. With consideration for themes of conflict, migration, religion, and gender, Lines offers up a compelling connection between the rogues themselves, marked by persistence and adaptability, and the ever-popular rogue narrative in this early period of Irish writing.