Ocean Vuong returns with a big-hearted novel about chosen family, unexpected friendship, and the stories we tell ourselves in order to survive One late summer evening in the post-industrial town of East Gladness, Connecticut, nineteen-year-old Hai stands on the edge of a bridge in pelting rain, ready to jump, when he hears someone shout across the river. The voice belongs to Grazina, an elderly widow succumbing to dementia, who convinces him to take another path. Bereft and out of options, he quickly becomes her caretaker. Over the course of the year, the unlikely pair develops a life-altering bond, one built on empathy, spiritual reckoning, and heartbreak, with the power to alter Hai’s relationship to himself, his family, and a community at the brink. Following the cycles of history, memory, and time, The Emperor of Gladness shows the profound ways in which love, labor, and loneliness form the bedrock of American life. At its heart is a brave epic about what it means to exist on the fringes of society and to reckon with the wounds that haunt our collective soul. Hallmarks of Vuong’s writing – formal innovation, syntactic dexterity, and the ability to twin grit with grace through tenderness – are on full display in this story of loss, hope, and how far we would go to possess one of life’s most fleeting mercies: a second chance.

From one of the most important American novelists of the twentieth century—a novel of sexual, racial, political, artistic passions, set in Greenwich Village, Harlem, and France. Stunning for its emotional intensity and haunting sensuality, this book depicts men and women, blacks and whites, stripped of their masks of gender and race by love and hatred at the most elemental and sublime.

Every few years since 1955, the creators of documenta set themselves the task of providing an insight into current trends in art and of capturing the zeitgeist of recent art production. Despite its name, documenta’s primary concerns are neither with the simple documentation of individual artists and their work nor with developments in art history, but instead with providing a historical space where art reflects and comments on social constellations and political or social change, or demands it through art interventions. documenta is not only a historical testimony and event, but also a show at which – through the medium of art— self-interpretation becomes the catalyst for debate and historical change. For the first time, this book places the history of documenta in the context of the political, cultural and societal development of Germany during the second half of the twentieth century, illustrating how art and history can be explored in terms of a mutually dependent relationship.

Installation Art provides both a history and a full critical examination of this challenging area of contemporary art, from 1950 to the present day. Using case studies of significant artists and individual works. Claire Bishop argues that, as installation art requires its audience to physically enter the artwork in order to experience it, installation pieces can be categorised by the type of experience they provide for the viewing subject. As well as exploring the methodologies of the artists examined, Bishop also explains the critical theory that informed their work. While revising and in some cases, re-assessing many well-known names, this fully illustrated book will introduce the reader to a wide spectrum of younger artists, some yet to receive critical attention.

To care can feel good, or it can feel bad. It can do good, it can oppress. But what is care? A moral obligation? A burden? A joy? Is it only human? In Matters of Care, María Puig de la Bellacasa presents a powerful challenge to conventional notions of care, exploring its significance as an ethical and political obligation for thinking in the more than human worlds of technoscience and naturecultures.  Matters of Care contests the view that care is something only humans do, and argues for extending to non-humans the consideration of agencies and communities that make the living web of care by considering how care circulates in the natural world. The first of the book’s two parts, “Knowledge Politics,” defines the motivations for expanding the ethico-political meanings of care, focusing on discussions in science and technology that engage with sociotechnical assemblages and objects as lively, politically charged “things.” The second part, “Speculative Ethics in Antiecological Times,” considers everyday ecologies of sustaining and perpetuating life for their potential to transform our entrenched relations to natural worlds as “resources.”  From the ethics and politics of care to experiential research on care to feminist science and technology studies, Matters of Care is a singular contribution to an emerging interdisciplinary debate that expands agency beyond the human to ask how our understandings of care must shift if we broaden the world.  

For readers of On Earth We're Briefly Gorgeous and My Brilliant Friend, Bushra Rehman's Roses, in the Mouth of a Lion is an unforgettable story about female friendship and queer love in a Muslim-American community.Razia Mirza grows up amid the wild grape vines and backyard sunflowers of Corona, Queens, with her best friend, Saima, by her side. When a family rift drives the girls apart, Razia’s heart is broken. She finds solace in Taslima, a new girl in her close-knit Pakistani-American community. They embark on a series of small rebellions: listening to scandalous music, wearing miniskirts, and cutting school to explore the city. When Razia is accepted to Stuyvesant, a prestigious high school in Manhattan, the gulf between the person she is and the daughter her parents want her to be, widens. At Stuyvesant, Razia meets Angela and is attracted to her in a way that blossoms into a new understanding. When their relationship is discovered by an Aunty in the community, Razia must choose between her family and her own future. Punctuated by both joy and loss, full of ’80s music and beloved novels, Roses, in the Mouth of a Lion is a new classic: a fiercely compassionate coming-of-age story of a girl struggling to reconcile her heritage and faith with her desire to be true to herself.

Romanen, der er baseret på forfatteren Betty Smiths egen historie, handler om pigen Francies hårde opvækst i Brooklyn, om mod og kærlighed og kampen for et godt liv. Om en barndom fuld af fortvivlelse og håb, kærlighed og knuste drømme - modgang og triumf – og spandevis af X-faktor. Gennem atten år – frem til 1918 – følger vi den fattige familie Nolan i Brooklyns Williamsburg, New York. Hovedpersonen er den unge, standhaftige Francie. Francie er andengenerations-amerikaner. Hendes far; Johnny Nolan, er af irsk afstamning, mens hendes mors er østrigsk. Kvarteret hun vokser op i er i det hele i taget befolket af en skøn blanding af ludfattige immigranter fra de to store immigrationsbølger; irerne og tyskerne fra midten af 1800-tallet og de østeuropæiske jøder og italienerne, som fulgte efter. Francie er omgivet af et menageri af dydige (samt en del frivole) - kvinder og stoute (og drikfældige) mænd. Mennesker, som trods fattigdom er stolte og som nægter at lade sig kue. Francie, broren Neely og moren Katie kæmper en daglig kamp for at tjene penge nok til mad og husleje – men de vil mere end blot at overleve. De vil lykkes.

Against the backdrop of an English country hotel in a languid pre-war summer, Denton Welch's alter ego, Orvil Pym, examines his early life and formative experiences with a Proustian intensity. An adolescent voyeur, Orvil takes pleasure in the microscopic observation of his relatives and fellow guests, charting their eccentricities and love affairs as faithfully as he exposes his own obsessions. In a highly perceptive Afterword, Jeremy Reed relates the novel to Welch's life and work, praising it for writing that 'oscillates between moments of lyrical serenity and outbreaks of psychological disorder.' Flagrantly controversial on its first publication in 1945, In Youth Is Pleasure will impress new readers with its arresting visual descriptions and its defiance of convention.

At school Connell and Marianne pretend not to know each other. He’s popular and well-adjusted, star of the school soccer team while she is lonely, proud, and intensely private. But when Connell comes to pick his mother up from her housekeeping job at Marianne’s house, a strange and indelible connection grows between the two teenagers - one they are determined to conceal. A year later, they’re both studying at Trinity College in Dublin. Marianne has found her feet in a new social world while Connell hangs at the sidelines, shy and uncertain. Throughout their years in college, Marianne and Connell circle one another, straying toward other people and possibilities but always magnetically, irresistibly drawn back together. Then, as she veers into self-destruction and he begins to search for meaning elsewhere, each must confront how far they are willing to go to save the other. Sally Rooney brings her brilliant psychological acuity and perfectly spare prose to a story that explores the subtleties of class, the electricity of first love, and the complex entanglements of family and friendship.

What happens when a woman goes online? She becomes a girl. The unwritten contract of the internet, that a user is what is used, extends from the well-examined issue of data privacy and consent to the very selves women are encouraged to create in order to appear. Invited to self-construct as 'girls online', vloggers, bloggers and influencers sign a devil's bargain: a platform on the condition they commodify themselves, eternally youthful, cute and responsibility-free, hiding offline domestic, professional and emotional labour while paying for their online presence with ‘accounts’ of personal ‘experience’. This arresting personal narrative disguises the truth of a women negotiating the (cyber)space between her identities as girl, mother, writer, and commodified online persona. Written in a plethora of the online styles, from programming language to the blog/diary, from tweets to lyric prose, Girl Online takes in selfies, social media, celebrity and Cyberfeminism. It is an (anti) user manifesto, exploding the terms and conditions of appearing online under the sign of 'girl'. A profound and moving philosophical investigation into the online experience of women as everyday users, it asks, is the personal internet a trap, or can it also be an opportunity for survival, and resistance?