Moss-haired Girl


Book Description

Fiction. Winner of the 3-Day Novel Contest (2013). Joshua Chapman Green is searching...searching for answers. He is combing through boxes in the attic of his recently deceased mother's home and uncovering childhood memories, mysterious letters, and perplexing photos of people he does not know. They appear to be circus performers, members of a travelling freak show, or Victorian-era sideshow performers. Then he finds a crumbling copy of Moss-Haired Girl: Confessions of a Circus Performer by Zara Zalinzi...the clasp falls away, and the pages open revealing a family story that may or may not be true. In this ambitious novella, R.H. Slansky weaves a complex narrative about the very nature of narrative: it is an annotated re-issue of a fictional autobiography that casts a questioning eye on the reliability of family lore. MOSS- HAIRED GIRL is wonderful stuff, punchy and clever and engaging.--San Francisco Book Review Ever wonder if the mad-dash products of speed-writing contests can be any good? With MOSS-HAIRED GIRL, winner of the 2013 Three-Day Novel Contest, R.H. Slanksy answers in the affirmative and offers some guidance by example to would-be contestants: Start with a great premise and bite off only so much as you can chew... At 72 pages, it's a slight but extremely fun read. Let's see what Slansky can do with a few more days.--The Globe and Mail MOSS-HAIRED GIRL is an enjoyable, light read with stylistic flair... the elements of Slansky's writing and the novella's presentation offer the reader plenty to reflect upon.--The Peak




The Midland


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Her Country


Book Description

In country music, the men might dominate the radio waves. But it’s women—like Maren Morris, Mickey Guyton, and Kacey Musgraves—who are making history. This is the full and unbridled story of the past twenty years of country music seen through the lens of these trailblazers’ careers—their paths to stardom and their battles against a deeply embedded boys’ club, as well as their efforts to transform the genre into a more inclusive place—as told by award-winning Nashville journalist Marissa R. Moss. For the women of country music, 1999 was an entirely different universe—a brief blip in time, when women like Shania Twain and the Chicks topped every chart and made country music a woman’s world. But the industry, which prefers its stars to be neutral, be obedient, and never rock the boat, had other plans. It wanted its women to “shut up and sing”—or else. In 2021, women are played on country radio as little as 10 percent of the time, but they’re still selling out arenas, as Kacey Musgraves does, and becoming infinitely bigger live draws than most of their male counterparts, creating massive pop crossover hits like Maren Morris’s “The Middle,” pushing the industry to confront its racial biases with Mickey Guyton’s “Black Like Me,” and winning heaps of Grammy nominations. Her Country is the story of how in the past two decades, country’s women fought back against systems designed to keep them down and created entirely new pathways to success. It’s the behind-the-scenes story of how women like Kacey, Mickey, Maren, Miranda Lambert, Rissi Palmer, Brandi Carlile, and many more have reinvented their place in an industry stacked against them. When the rules stopped working for these women, they threw them out, made their own, and took control—changing the genre forever, and for the better.







Secrets of the Sideshows


Book Description

The carnival sideshows of the past have left behind a fascinating legacy of mystery and intrigue. The secrets behind such daring feats as fire-eating and sword swallowing and bizarre exhibitions of human oddities as "Alligator Boys" and "Gorilla Girls" still remain, only grudgingly if ever given up by performers and carnival professionals. Working alongside the performers, Joe Nickell blows the lid off these mysteries of the midway. The author reveals the structure of the shows, specific methods behind the performances, and the showmen's tactics for recruiting performers and attracting crowds. He also traces the history of such spectacles, from ancient Egyptian magic and street fairs to the golden age of P.T. Barnum's sideshows. With revealing insight into the personal lives of the men and women billed as freaks, Nickell unfolds the captivating story of the midway show.




Vanity Fair


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Dress & Vanity Fair


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Lucy Locket: Online Disaster


Book Description

NEWSFLASH . . . VLOGGING IS GO! It's bad enough having to move house, school and country all at the same time, without making a fool of yourself on the first day of term. But that's just what Lucy's done - and one of her classmates has videoed the whole thing and put it online! Lucy's so stressed, her stammer's become worse than ever. So when a friend encourages her to create her own videos, she thinks it's a terrible idea - surely she's embarrassed herself enough for one lifetime! But when Lucy finally gives vlogging a try, she's amazed to find that people actually want to watch . . . Includes tips for making your own vlogs!




The Body in the Anglosphere, 1880–1920


Book Description

Focusing on the body in every chapter, this book examines the changing meanings and profound significance of the physical form among the Anglo-Saxons from 1880 to 1920. They formed an imaginary—but, in many ways, quite real—community that ruled much of the world. Among them, racism became more virulent. To probe the importance of the body, this book brings together for the first time the many areas in which the physical form was newly or more extensively featured, from photography through literature, frontier wars, violent sports, and the global circus. Sex, sexuality, concepts of gender including women’s possibilities in all areas of life, and the meanings of race and of civilization figured regularly in Anglo discussions. Black people challenged racism by presenting their own photos of respectable folk. As all this unfolded, Anglo men and women faced the problem of maintaining civilized control vs. the need to express uninhibited feeling. With these issues in mind, it is evident that the origins of today’s debates about race and gender lie in the late nineteenth century.




The Freak-garde


Book Description

Since the 1890s, American artists have employed the arts of the freak show to envision radically different ways of being. The result is a rich avant-garde tradition that critiques and challenges capitalism from within. The Freak-garde traces the arts of the freak show from P. T. Barnum to Matthew Barney and demonstrates how a form of mass culture entertainment became the basis for a distinctly American avant-garde tradition. Exploring a wide range of writers, filmmakers, photographers, and artists who have appropriated the arts of the freak show, Robin Blyn exposes the disturbing power of human curiosities and the desires they unleash. Through a series of incisive and often startling readings, Blyn reveals how such figures as Mark Twain, Djuna Barnes, Tod Browning, Lon Chaney, Nathanael West, and Diane Arbus use these desires to propose alternatives to the autonomous and repressed subject of liberal capitalism. Blyn explains how, rather than grounding revolutionary subjectivities in imaginary realms innocent of capitalism, freak-garde works manufacture new subjectivities by exploiting potentials inherent to capitalism. Defying conventional wisdom, The Freak-garde ultimately argues that postmodernism is not the death of the avant-garde but the inheritor of a vital and generative legacy. In doing so, the book establishes innovative approaches to American avant-garde practices and embodiment and lays the foundation for a more nuanced understanding of the disruptive potential of art under capitalism.