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‘Particle/Word Theory’ is Jimmie Durham’s third poem book after ‘Columbus Day’ (1983) and ‘Poems That Do Not Go Together’ (2012).

This new book contains 38 poems, written between 2014 and 2019, and 13 drawings.

Durham’s sculptures as well as his texts are made out of fragments, they are a lifelong artistic statement against monumentality.

The artist observes nature, thinks about the try to categorise and name nature and he reflects about unspectacular, daily behaviour of animals and humans – himself included.

In ‘Particle/Word Theory’ he cites also scientific studies, articles about brain and pain research – all this stands next to his own pain experience.

The book underlines a provocative sentence he wrote in 1998 – “Art and science are the same thing”.

English literature

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Poet, philosopher, speculative architect and transdisciplinary artist, Madeline Gins (1941–2014) is well-known for her collaborations with her husband, the artist Arakawa, on the experimental architectural project Reversible Destiny, in which they sought to arrest mortality by transforming the built environment. Yet, her own writings—in the form of poetry, essays, experimental prose, and philosophical inquiries—represent her most visionary and transformative work. Expansive and playful, Gins’s vigorous and often ecstatic exploration of the physicality of language challenges us to sense more acutely the ways in which we can—and could—write and read. Like Gertrude Stein before her, Gins transfigures grammar and liberates words. Like her contemporaries in conceptual art, her writing is attuned to the energized, collaborative space between reader and page. She invites the reader into a field of infinite, ever-multiplying possibility.

The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader is a revelatory anthology, edited and with an introduction by the writer and critic Lucy Ives. It brings never-before-published poems and essays together with a complete facsimile reproduction of Gins’s 1969 masterpiece, WORD RAIN (or A Discursive Introduction to the Intimate Philosophical Investigations of G,R,E,T,A, G,A,R,B,O, It Says), along with substantial excerpts from her two later books What the President Will Say and Do!! (1984) and Helen Keller or Arakawa (1994). Long out of print or unpublished, Gins’s poems and prose form a powerful corpus of experimental literature, one which is sure to upend existing narratives of American poetics at the close of the twentieth century.

Gins, Madeline. --- English literature --- poetry --- Gins, Madeline

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This book investigates adaptations of The Lady of Shalott and Elaine of Astolat in Victorian and post-Victorian popular culture to explore their engagement with medievalism, social constructions of gender, and representations of the role of art in society. Although the figure of Elaine first appeared in medieval texts, including Malory’s Le Morte Darthur, Tennyson’s poems about the Lady and Elaine drew unprecedented response from musicians, artists, and other authors, whose adaptations in some cases inspired further adaptations. With chapters on music, art, and literature (including parody, young people’s literature, and historical fiction and fantasy), this book seeks to trace the evolution of these characters and the ways in which they reinforce or challenge conventional gender roles, represent the present’s relationship to the past, and highlight the power of art. .

Film --- Old English literature --- English literature --- Literature --- History of Europe --- literatuur --- Europese geschiedenis --- middeleeuwen --- Engelse literatuur --- anno 500-1499 --- anno 1800-1899 --- Great Britain --- Europe

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Georgia has never been in love, never kissed anyone, never even had a crush - but as a fanfic-obsessed romantic she's sure she'll find her person one day.

As she starts university with her best friends, Pip and Jason, in a whole new town far from home, Georgia's ready to find romance, and with her outgoing roommate on her side and a place in the Shakespeare Society, her 'teenage dream' is in sight. But when her romance plan wreaks havoc amongst her friends, Georgia ends up in her own comedy of errors, and she starts to question why love seems so easy for other people but not for her. With new terms thrown at her - asexual, aromantic - Georgia is more uncertain about her feelings than ever. 

Is she destined to remain loveless? Or has she been looking for the wrong thing all along? 

This wise, warm and witty story of identity and self-acceptance sees Alice Oseman on towering form as Georgia and her friends discover that true love isn't limited to romance.

English literature --- LGBTQIA+ (lesbian, gay, bi, trans, queer, intersex and asexual) --- Romans --- Liefde --- Relaties --- Vriendschap --- Aseksualiteit

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This five-volume series, British Women’s Writing From Brontë to Bloomsbury, 1840–1940, historically contextualizes and traces developments in women’s fiction from 1840 to 1940. Critically assessing both canonical and lesser-known British women’s writing decade by decade, it redefines the landscape of women’s authorship across a century of dynamic social and cultural change. With each of its volumes devoted to two decades, the series is wide in scope but historically sharply defined. Volume 2: 1860s and 1870s continues the series by historically and culturally contextualizing Victorian women’s writing distinctly within the 1860s and 1870s. Covering a range of fictional approaches, including short stories, religiously inflected novels, and comic writing the volume’s 16 original essays consider such developments as the sensation craze, the impact of new technologies, and the career opportunities opening for women. Centrally, it reassesses key nineteenth-century female authors in the context in which they first published while also recovering neglected women writers who helped to shape the literary landscape of the 1860s and 1870s.

Fiction --- English literature --- Literature --- literatuur --- fantasie (verbeelding) --- Engelse literatuur --- anno 1800-1899 --- Great Britain