Bøger i 21st Century Essays serien

"A searing memoir about growing up behind the Iron Curtain, motherhood, addiction, and finding sustenance in the natural world." -KirkusIn The Hunger Book, Agata Izabela Brewer evokes her Polish childhood under Communism, where the warmth of her grandparents' love and the scent of mushrooms drying in a tiny apartment are as potent as the deprivations and traumas of life with a terrifyingly unstable, alcoholic single mother. Brewer indelibly renders stories of foraging for food, homemade potato vodka (one of the Eastern Bloc's more viable currencies), blood sausage, sparrows plucked and fried with linseed oil, and the respite of a country garden plot, all amid Stalinist-era apartment buildings, food shortages, martial law, and nuclear disaster in nearby Ukraine.Brewer reflects on all of this from her immigrant's vantage point, as she wryly tries to convince her children to enjoy the mushrooms she gathers from a roadside and grieves when they choose to go by Americanized versions of their Polish names. Hunting mushrooms, like her childhood, carried both reward and mortal peril. The Hunger Book, which includes recipes, is an unforgettable meditation on motherhood and addiction, resilience and love.

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large-in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother, Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from.The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike.

Personal essays that--through tattoos, plastic surgery, running, physical labor, and more--explore the body and its connection to identity creation and the world around us"--

"As an adult, [Imperial] attempted what no one else had done: translating ['The White Man's Burden'] into Tagalog. These efforts led Imperial to reflect on her many (often disorienting) moves between the U.S. and the Philippines as well as the pain that translating the poem, alongside her own fractured experiences, represented....Kipling's 'burden,' Imperial suggests, is far more nuanced than many believe....An intriguing and provocative book."-KirkusBorn in postcolonial Philippines into a family-and country-with a complicated history, Christine Imperial learns from a lifetime of experiences that there is no easy path to understanding or belonging. Setting out to renew her relationship to Tagalog, the language she had previously distanced herself from, she contends with the meaning of her dual Philippine/US citizenship along with the conditions surrounding it, reflecting on imperialist and class systems and the history of her birth country. Beginning with an attempt to translate into Tagalog Rudyard Kipling's "The White Man's Burden"-Kipling's ode to American imperialism after the US takeover of the Philippines-Imperial reflects on and writes against Kipling's poem as she unspools her fractured family's story. Reckoning with both the anguish and promise of hybridity, Mistaken for an Empire expands into an exploration of the author's relationship to English and Tagalog, history, family and state, origin and belonging. By interrogating the many intricacies of individual and national identity and the legacies that shape them, Imperial grapples with the tangled nature of allegiance, whether it be to family, to country, or to self.

"A dauntless and harrowing indictment of patriarchal violence." -Publishers WeeklyIn Everything I Never Wanted to Know, Christine Hume confronts the stigma and vulnerability of women's bodies in the US. She explores bodily autonomy and sexual assault alongside the National Sex Offender Registry in order to invoke not solutions but a willingness to complicate our ideas of justice and defend every human's right to be treated like a member of the community. Feminist autobiography threads into historical narrative and cultural criticism about the Victorian-era Frozen Charlotte doll; the Nylon Riots of the 1940s; the movie Halloween; Larry Nassar, who practiced in Hume's home state of Michigan; and other material. In these reflections on sexuality, gender, criminality, and violence, Hume asks readers to reconsider what we have collectively normalized and how we are each complicit, writing through the darkness of what we don't want to see, what we'd rather not believe, and what some of us have long tried to forget.

Runner Up, 2021 Gournay PrizeEngine Running explores debut author Cade Mason's gradual distancing from home and old selves alongside an increasingly fractured family doing the same. Starting at the beginning of his parents' love and working past its end, he combs through memory to piece together a portrait of a family then and now: of a father, reeling after a blindsiding divorce; of a mother, anxious to move on; of a sister, caught in the crossfire; and of a son, learning to embrace his sexuality even as he fears that his own loves may have deepened the rift between his parents. Lush and innovative, these essays contemplate childhood memories and family secrets, religion and queerness in the rural South, and the ways rituals and contours of manhood are passed through generations. Most of all, we feel with Mason what it is to grapple with and love a place even as you yearn to leave.

The powerful essays in Paul Crenshaw's This One Will Hurt You range in subject matter from the fierce tornadoes that crop up in Tornado Alley every spring and summer to a supposedly haunted one-hundred-year-old tuberculosis sanatorium that he lived on the grounds of as a child. They ruminate on the effects of crystal meth on small southern towns, Maurice Sendak's Where the Wild Things Are, and the ongoing struggle of being a parent in an increasingly disturbing world. They surprise, whether discovering a loved one's secret, an opossum's motivation, or the unexpected decision four beer-guzzling, college-aged men must make. They tell stories of family and the past, the histories of small things such as walls and weather, and the faith it takes to hold together in the face of death. With eloquence, subtle humor, and an urgent poignancy, Crenshaw delivers a powerful and moving collection of nonfiction essays, tied together by place and the violence of the world in which we live.

Finalist for the Publishing Triangle''s Judy Grahn Award for Lesbian NonfictionYou have a history, and a body. You are a history, and a body. Your body has (is) a history, too. As a girl, Julie Marie Wade was uninterested in makeup, boy-watching, and other trappings of conventional girlhood, much to her mother''s disappointment. Grace Kelly and Marilyn Monroe-movie stars immortalized as feminine ideals, even as they both died tragically and young-were lodestars that threw Wade''s own definition of beauty into relief as she stumbled into adulthood.Now, in Just an Ordinary Woman Breathing, Wade traces the intimate story of coming of age in one particular body (as a lesbian, an only child, a Protestant attending Catholic school). She uses the language and tenets of music, math, religion, fairy tales, poetry, and art to reckon with the many facets of embodiment, sexuality, and love in our contemporary world. The diet industry, popular culture, and her own family all provide rich material for what is ultimately a lyrical and unflinching investigation into the questions that prickle deep within the human heart. 

My Private Lennon: Explorations from a Fan Who Never Screamed offers a new point of view from which to consider the Beatles'' impact on society and on the individual. In a series of linked autobiographical essays that explore the musical, cultural, and personal aspects of intense music fandom, Sibbie O''Sullivan dismantles the grand narrative of the fifteen-year-old hysterical female Beatles fan and replaces it with an introspective and often humorous tale about how the band shaped her intellectual and artistic development. My Private Lennon charts the author''s realization that the Beatles, especially John Lennon, were a crucial force in her development. A radical departure from other books written by Beatles fans, My Private Lennon invites its readers to consider subjects not usually found in works about Lennon and the band, such as the constraints of memory, the male body, grief, the female breast, race, cultural issues, and the importance of privacy in our over-mediated world. In pieces that engage cultural issues and historical contexts, My Private Lennon creates a witty and provocative intimacy with readers who value the power of art to change one''s life and who love John Lennon and the Beatles. 

In 2014 Sonya Bilocerkowycz is a tourist at a deadly revolution. At first she is enamored with the Ukrainians'' idealism, which reminds her of her own patriotic family. But when the romantic revolution melts into a war with Russia, she becomes disillusioned, prompting a return home to the US and the diaspora community that raised her. As the daughter of a man who studies Ukrainian dissidents for a living, the granddaughter of war refugees, and the great-granddaughter of a gulag victim, Bilocerkowycz has inherited a legacy of political oppression. But what does it mean when she discovers a missing page from her family''s survival story-one that raises questions about her own guilt?In these linked essays, Bilocerkowycz invites readers to meet a swirling cast of post-Soviet characters, including a Russian intelligence officer who finds Osama bin Laden a few weeks after 9/11; a Ukrainian poet whose nose gets broken by Russian separatists; and a long-lost relative who drives a bus into the heart of Chernobyl. On Our Way Home from the Revolution muddles our easy distinctions between innocence and culpability, agency and fate.

Through a series of variations on the theme of love-unrequited, polyamorous, monogomous, scandalous, adulterous-Desirae Matherly''s Echo''s Fugue explores love in all its failures and delusions. Patterned on the unfinished The Art of Fugue by Johann Sebastian Bach which has been a mystery for centuries, Echo''s Fugue undertakes Bach''s project in prose-the tantalizing numerical correspondences throughout, the repetition of a single theme, the unfinished final piece. Matherly''s essays appear as letters, indexes, narrative, or sentence diagrams, each defying the rules of the blank page. Song lyrics, obsession, Greek mythology, psychology, game theory, and human sexuality form a fragmented narrative about loss and unhealthy attachments. Mimicry of Bach''s fugues leads the author to questions about love, sex, desire, the "Bach or Stravinsky" paradigm in game theory, and relationships considered taboo by mainstream standards.What authority speaks clearest with regard to love, sex, and desire-and is objectivity even possible? The final essay attempts to resolve this question while echoing the puzzle of Bach''s final unfinished fugue. 

David Shields's The Trouble with Men: Reflections on Sex, Love, Marriage, Porn, and Power is an immersion into the perils, limits, and possibilities of human intimacy. All at once a love letter to his wife, a nervy reckoning with his own fallibility, a meditation on the impact of porn on American culture, and an attempt to understand marriage (one marriage, the idea of marriage, all marriages), The Trouble with Men is exquisitely balanced between the personal and the anthropological, nakedness and restraint. While unashamedly intellectual, it's also irresistibly readable and extremely moving. Over five increasingly intimate chapters, Shields probes the contours of his own psyche and marriage, marshalling a chorus of other voices that leaven, deepen, and universalize his experience; his goal is nothing less than a deconstruction of eros and conventional masculinity. Masterfully woven throughout is an unmistakable and surprisingly tender cri de coeur to his wife. The risk and vulnerability on display are in the service of radical candor, acerbic wit, real emotion, and profound insight-exactly what we've come to expect from Shields, who, in an open invitation to the reader, leaves everything on the page.

"Who are we to each other when we're afraid?" Kisha Lewellyn Schlegel asks in Fear Icons, her moving and original debut essay collection. Her answer is a lyric examination of the icons that summon and soothe our fears. From Donald Trump to the Virgin Mary, Darth Vader to the Dalai Lama, Schlegel turns cultural criticism personal with bracing intelligence and vulnerability as she explores what it means to be human, a woman, an artist, and, in particular, a parent: what it means to love a child beyond measure, someone so vulnerable, familiar, and strange. Schlegel looks at fear and faith-the ways the two are more similar than we realize-and the many shapes our faith takes, from nationalism to friendship, from art to religious dogma. Each essay is woven through with other voices-Baldwin, Ashbery, Du Bois, Cixous-positioning Schlegel's arguments and meditations within a diverse and dynamic literary lineage. Fear Icons is a vital and timely inquiry into the complex relationship between love and fear-and the ways that each intensifies the other.

In Sustainability: A Love Story, Nicole Walker questions what it means to live sustainably while still being able to have Internet and eat bacon. After all, who wants to listen to a short, blond woman who is mostly a hypocrite anyway-who eats cows, drives a gasoline-powered car, who owns no solar panels-tsk-tsking them? Armed with research and a bright irony that playfully addresses the devastation of the world around us, Walker delves deep into scarcity and abundance, reflecting on matters that range from her uneasy relationship with bats to the fragility of human life, from adolescent lies to what recycling can reveal about our not so moderate drinking habits. With laugh-out-loud sad-funny moments, and a stark humor, Walker appeals to our innate sense of personal commitment to sustaining our world, and our commitment to sustaining our marriages, our families, our lives, ourselves. This book is for the burnt-out environmentalist, the lazy environmentalist, the would-be environmentalist. It's for those who believe the planet is dying. For those who believe they are dying. And for those who question what it means to live and love sustainably, and maybe even with hope.

In his latest collection, Hummingbirds Between the Pages, prizewinning Irish essayist Chris Arthur muses on subjects ranging from Charles Darwin''s killing of a South American fox to the carnal music sounding in a statue of the Buddha, from how Egyptian seashells contain echoes of World War II to a child''s first encounter with death. Whether he''s looking at skipping stones, old photographs, butterflies, the resonance of a remembered phrase, or being questioned at an army checkpoint during Northern Ireland''s Troubles, what gives these unorthodox meditations their appeal is the way in which-with striking lyricism-they tap into unexpected seams of meaning and mystery in our everyday terrain. Arthur explores the moments that have left him spellbound, tying his own experiences as a young boy from Ulster who saw his first hummingbirds in London to the wonder felt by early settlers to America who sent pressed hummingbirds across the ocean to the communities they had left behind. Through rumination on the seemingly quotidian, Arthur''s lyrical prose exposes new layers of possibility just beneath the surface of the expected.

"Things puppets can do to us: charm, deceive, captivate, fool, trick, remind, amuse, distract, bore, repulse, annoy, puzzle, transport, provoke, fascinate, stand in for, kill." In You, Me, and the Violence, Catherine Taylor ponders the nature of personal and political autonomy, focusing on the surprising juxtaposition of puppetry and military drones. In a book at once politically significant and narratively engaging, Taylor blends genres to question the roles of individuals within society and expose the gritty and emotional underpinnings of the seemingly mechanical process of a remote soldier.From conversations with her own brother about his military experiences to Punch and Judy, from the original tale of Pinocchio to the radio chatter of soldiers in active drone operation, Taylor writes about family, power, and the "theater" of war in a voice both sly and sobering, heartbreaking and hopeful. 

In this collection of linked lyrical and narrative essays, experimental translations, and reinterpreted myths, Lina Maria Ferreira Cabeza-Vanegas launches into an exploration of home and identity, family history and belonging, continually examining what it means to feel familiarity but never really feel at home. Don''t Come Back intermixes translations of Spanish adages and adaptations of major Colombian myths with personal essays about growing up amidst violence, magic, and an unyielding Andean sun. Home is place and time and people and language and history, and none of these are ever set in stone. Attempting to reconcile the irreconcilable and translate the untranslatable-to move smoothly and cohesively between culture, language, and place-Ferreira Cabeza-Vanegas is torn between spaces, between the aunt who begs her to return to Colombia and the mother who tells her, "There''s nothing here for you, Lina. Don''t come back." Don''t Come Back is an exploration of home and identity that constantly asks, "If you really could go back, would you?" 

Ownership battles over the marbles removed from the Parthenon by Lord Elgin have been rumbling into invective, pleading, and counterclaims for two centuries. The emotional temperature around them is high, and steering across the vast past to safe anchor in a brilliant heritage is tricky. The stories around antiquities become distorted by the pull of ownership, and it is these stories that urge Patricia Vigderman into her own exploration of their inspiring legacy in her compelling extended essay, The Real Life of the Parthenon. Vigderman''s own journey began at the Parthenon, but curiosity edged her further onto the sea between antiquity and the present. She set out to seek the broken temples and amphorae, the mysterious smiles of archaic sculpture, and the finely hammered gold of a funeral wreath among the jumbled streets of modern Athens, the fertile fields of Sicily, the mozzarella buffalo of Paestum. Guided along the way toward the enduring landscapes and fractured history by archeologists, classicists, historians, and artists-and by the desire they inspire-she was caught by ongoing, contemporary local life among the ruins. Gathering present meaning and resonance for the once and future remains of vanished glory, The Real Life of the Parthenon illuminates an important but shadowy element of our common cultural life: the living dynamic between loss and delight.