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"An emotional and involving tale of grief and the powers of darkness." - Kirkus ReviewsFrankie is mourning her best friend. She blames herself for Anna's death and has been threatened by Anna's wealthy father with consequences if she reveals how Anna really died. She is in free fall, trying desperately to escape into partying and oblivion. A series of confounding events lead Frankie to a mysterious stranger with a deep connection to Anna's family. Tormented by her past, Alba is out for blood, specifically the blood of men who mistreat women. Frankie loves with her whole heart; she is relentlessly candid and often hilarious in the face of devastating and terrifying circumstances. Supernatural creatures run interference in this neo-Gothic East Vancouver as Frankie comes to terms with Alba's nature, as well as her own deepest desires, while Alba fights to protect Frankie's life and mortal soul."... raw realism recalling Jay McInerney's Bright Lights, Big City and the sharp lyricism of Ann-Marie MacDonald's Fall On Your Knees... both moving and exciting." - Kirkus Reviews
Examining the multiple non-humorous meanings of laughter, this book explores a unique strain of laughter in modernism that is without humor, without humans, and without humanism. Providing a bold new theory of modernism's affects, Posthumorism chronicles the scattered emergence of a particular strain of humorless laughter in twentieth-century literature, film, and philosophy. From William James's trippy experiments with laughing gas to the wide-open suicide shriek of Major Kong in Stanley Kubrick's Dr. Strangelove, modernity is strewn with examples of such laughter - defined by its ability to "crack up" and destroy, whilst opening new horizons of perception.Examining the creative operation of posthumorist laughter, this book explores how various stylists of the form-from Nathanael West and Kurt Vonnegut to Georges Bataille and Hélène Cixous-use it as a tool to unsettle, reconfigure the individual human, and shape different forms of humanist discourse.
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