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Product description

From the New York Times bestselling author of Bad Feminist: a searingly honest memoir of food, weight, self-image, and learning how to feed your hunger while taking care of yourself.

?I ate and ate and ate in the hopes that if I made myself big, my body would be safe. I buried the girl I was because she ran into all kinds of trouble. I tried to erase every memory of her, but she is still there, somewhere. . . . I was trapped in my body, one that I barely recognized or understood, but at least I was safe.?

In her phenomenally popular essays and long-running Tumblr blog, Roxane Gay has written with intimacy and sensitivity about food and body, using her own emotional and psychological struggles as a means of exploring our shared anxieties over pleasure, consumption, appearance, and health. As a woman who describes her own body as ?wildly undisciplined,? Roxane understands the tension between desire and denial, between self-comfort and self-care. In Hunger, she explores her past?including the devastating act of violence that acted as a turning point in her young life?and brings readers along on her journey to understand and ultimately save herself.

With the bracing candor, vulnerability, and power that have made her one of the most admired writers of her generation, Roxane explores what it means to learn to take care of yourself: how to feed your hungers for delicious and satisfying food, a smaller and safer body, and a body that can love and be loved?in a time when the bigger you are, the smaller your world becomes.
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Details

Additional ISBN/GTIN9780062362605
Product TypeE-book
BindingE-book
FormatEPUB
Format noteDRM Adobe
FormatReflowable
PublisherHarperCollins
Publishing date13/06/2017
LanguageEnglish
File size1411 Kbytes
Article no.10942662
CatalogsVC
Data source no.3553259
Product groupBU562
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After reading my collegue's review, I decided to give it a shot, being sex-related sociology amongst my fields of interest.
Ania Srinivasan deals with thorny topics which feminists have been engaging for decades with, without coming across as condescending. On the contrary, her stance on the different issues is imbued with knowledge and humbleness of not having necessarily the final answer. Her intellectual honesty is just so outstanding that - no matter if you agree with her or not - you can't help but keep the book glued to your eyes!

I hope to hear more of her publishings soon
Viola Davis impresses with intensity in cinema, for television and on stage. In 'Finding me' we accompany the actress through her childhood and to the roots of her strength.
It's a tough road full of adversity, setbacks and trauma.
Viola's powerful writing is breathtaking, relentlessly honest and full of wise insights.
I really love it.
We're zooming in and out of T. Fleischmann's life in this dazzingly beautiful piece of literature, which is exactly what its title would suggest: a fragmentory reflection on what it means to have a trans body, and how it affects Fleischmann's way of existing in time, explored through a work that is part memoir, part travelogue and part essay about the artist Felix Gonzalez-Torres. Fleischmann choses to literally reject all kinds of metaphor, but they also don't feel the need to spell things out - that's why this book manages to invent an unusually poetic space where things remain just as they are, capable of carrying multiple meanings at once (queer experience being the main aspect this relates to, but not exclusively so). This is a text that is messy on purpose, that is hard to grasp and at the same perfectly precise; an ode to being complexely alive in the world.
Will man die großen amerikanischen Dramen der 50er Jahre kennenlernen, führt wohl kein Weg an Tennessee Williams vorbei. 1955 entstand Cat on a Hot Tin Roof und brachte einen Broadway Erfolg und einen weiteren Pulitzerpreis für den Autor. Wir lernen die Familie Pollitt kennen, wohlhabende Baumwollplantagenbesitzer. Zu Hauptfiguren stilisieren sich von Beginn an Maggie the Cat und Brick (der verletzte ehemalige Football-Spieler), seit Jahren verheiratet, kinderlos und schon seit einiger Zeit nicht mehr glücklich. Daneben steht das kinderreiche Paar Mae und Gooper, die versuchen Big Mama und Big Daddy zu gefallen. Der tieferliegende Konflikt wird nach und nach aus den langen Dialogen herausgeschält und überraschte beim Lesen doch stark. Manche Themen erwartet man vielleicht nicht in solch psychologisch-biographischen Stücken. Darüber hinaus fliehen die Figuren in Alkohlismus & Einsamkeit (Brick) oder finden sich auf dem heißen Blechdach wieder (Maggie), von dem es aus eigentlich nur einen Weg gibt. Das Drama entfaltet Stück für Stück die kommunikativen und gesellschaftlichen Probleme, die alle Figuren miteinander verbinden. Tennessee Williams zeichnet dabei höchst verständnisvoll zarte, sanfte Figuren, die an den scharfen Kanten der sie umgebenden Welt versehrt werden. Großartig eingesetzte Regieanweisungen unterstreichen die Stimmung des Werkes bis zum Schluss. Hier freue ich mich auf einen baldigen Theaterbesuch!
Will man die großen amerikanischen Dramen der 50er Jahre kennenlernen, führt wohl kein Weg an Tennessee Williams vorbei. 1955 entstand Cat on a Hot Tin Roof und brachte einen Broadway Erfolg und einen weiteren Pulitzerpreis für den Autor. Wir lernen die Familie Pollitt kennen, wohlhabende Baumwollplantagenbesitzer. Zu Hauptfiguren stilisieren sich von Beginn an Maggie the Cat und Brick (der verletzte ehemalige Football-Spieler), seit Jahren verheiratet, kinderlos und schon seit einiger Zeit nicht mehr glücklich. Daneben steht das kinderreiche Paar Mae und Gooper, die versuchen Big Mama und Big Daddy zu gefallen. Der tieferliegende Konflikt wird nach und nach aus den langen Dialogen herausgeschält und überraschte beim Lesen doch stark. Manche Themen erwartet man vielleicht nicht in solch psychologisch-biographischen Stücken. Darüber hinaus fliehen die Figuren in Alkohlismus & Einsamkeit (Brick) oder finden sich auf dem heißen Blechdach wieder (Maggie), von dem es aus eigentlich nur einen Weg gibt. Das Drama entfaltet Stück für Stück die kommunikativen und gesellschaftlichen Probleme, die alle Figuren miteinander verbinden. Tennessee Williams zeichnet dabei höchst verständnisvoll zarte, sanfte Figuren, die an den scharfen Kanten der sie umgebenden Welt versehrt werden. Großartig eingesetzte Regieanweisungen unterstreichen die Stimmung des Werkes bis zum Schluss. Hier freue ich mich auf einen baldigen Theaterbesuch!
Will man die großen amerikanischen Dramen der 50er Jahre kennenlernen, führt wohl kein Weg an Tennessee Williams vorbei. 1955 entstand Cat on a Hot Tin Roof und brachte einen Broadway Erfolg und einen weiteren Pulitzerpreis für den Autor. Wir lernen die Familie Pollitt kennen, wohlhabende Baumwollplantagenbesitzer. Zu Hauptfiguren stilisieren sich von Beginn an Maggie the Cat und Brick (der verletzte ehemalige Football-Spieler), seit Jahren verheiratet, kinderlos und schon seit einiger Zeit nicht mehr glücklich. Daneben steht das kinderreiche Paar Mae und Gooper, die versuchen Big Mama und Big Daddy zu gefallen. Der tieferliegende Konflikt wird nach und nach aus den langen Dialogen herausgeschält und überraschte beim Lesen doch stark. Manche Themen erwartet man vielleicht nicht in solch psychologisch-biographischen Stücken. Darüber hinaus fliehen die Figuren in Alkohlismus & Einsamkeit (Brick) oder finden sich auf dem heißen Blechdach wieder (Maggie), von dem es aus eigentlich nur einen Weg gibt. Das Drama entfaltet Stück für Stück die kommunikativen und gesellschaftlichen Probleme, die alle Figuren miteinander verbinden. Tennessee Williams zeichnet dabei höchst verständnisvoll zarte, sanfte Figuren, die an den scharfen Kanten der sie umgebenden Welt versehrt werden. Großartig eingesetzte Regieanweisungen unterstreichen die Stimmung des Werkes bis zum Schluss. Hier freue ich mich auf einen baldigen Theaterbesuch!
It's admittedly slightly too late for this recommendation, but then again the Italian April is arguably more equal to the German May. An absolutely delightful holiday novel about four women escaping to a romantic Italian castle for some time to themselves - only to be literally spellbound by it. Read it for the lush Italian gardens and the irresistible spring airs - maby skim over some of the more dated romantic version of musical chairs.
It's admittedly slightly too late for this recommendation, but then again the Italian April is arguably more equal to the German May. An absolutely delightful holiday novel about four women escaping to a romantic Italian castle for some time to themselves - only to be literally spellbound by it. Read it for the lush Italian gardens and the irresistible spring airs - maby skim over some of the more dated romantic version of musical chairs.
Not many authors manage to be admired and thought of as somehow 'classic' with only three books under their belt but Jo Ann Beard is one of them. Her debut essay collection "Boys of My Youth" introduced her trademark style of autofictional, highly stylized and ruminative essays that centre around keen observations of beautiful quotidian lives. After having published a novel, this collection once again returns to the literary essay. Death, its reality and propensity for forcing clarity is the theme that runs through the book. The death of a beloved dog, of a friend, of oneself indeed. Beard collects beautiful details, seemingly small things and weaves an almost spiritual literary tapestry from her material. I found myself losing her sometimes but if you trust her, an astonishing hook, a breathtakingly turned sentence will always draw you back in.
After reading my collegue's review, I decided to give it a shot, being sex-related sociology amongst my fields of interest.
Ania Srinivasan deals with thorny topics which feminists have been engaging for decades with, without coming across as condescending. On the contrary, her stance on the different issues is imbued with knowledge and humbleness of not having necessarily the final answer. Her intellectual honesty is just so outstanding that - no matter if you agree with her or not - you can't help but keep the book glued to your eyes!

I hope to hear more of her publishings soon
Her way of writing is magnificent, first and foremost. The essays were very interesting and greatly researched. At the same time there was a good balance of personal experience and societal topics. Some of the themes I had already seen docs on or read something else about. Also it was quite America-Centric, which gave it some limits.
Auch wenn ich Zweigs Sprache bisweilen als etwas schwulstig und altertümlich empfinde und die Miniaturen ein gewisses Maß an Geschichtswissen voraussetzen, haben mich viele der Handlungen gepackt. Besonders Scotts dramatische Südpolexpedition war fast unerträglich spannend.
Der ganz besondere Reiz dieses Buches ist, dass es sich um wahre Begebenheiten handelt und somit Geschichte lebendig werden lässt. Als Leser lernt man unter anderem Händel, Goethe und Tolstoi privat kennen und hat das Gefühl, mit ihnen in einem Raum zu sitzen.
In Kapuscinski's strange, genre-defying work, a choir of former courtiers whispers to him about the extravagances and eventual decline of the Ethiopian monarchy. The book sits somewhere between oral history and reportage but its strange magic is wrought through the voices of the disgraced king's servants, now in hiding and only to be met through secret doors. They describe the lavish palace, the absurd rituals and the absolute power of the king that everyone had to scrape under. Their flowery language of adoration and servitude masks hidden depths of resentment and glee. It is this contradiction, as well as the observations on possibly the last absolutist monarchy, that make this book the astonishing masterpiece it is.

Author

Roxane Gay is the author of the New York Times bestselling essay collection Bad Feminist; the novel An Untamed State, a finalist for the Dayton Peace Prize; the New York Times bestselling memoir Hunger; and the short story collections Difficult Women and Ayiti. A contributing opinion writer to the New York Times, for which she also writes the ?Work Friend? column, she has written for Time, McSweeney's, the Virginia Quarterly Review, Harper's Bazaar, Tin House, and Oxford American, among many other publications. Her work has also been selected for numerous Best anthologies, including Best American Nonrequired Reading 2018 and Best American Mystery Stories 2014. She is also the author of World of Wakanda for Marvel. In 2018 she was awarded a Guggenheim Fellowship and holds the Gloria Steinem Endowed Chair in Media, Culture and Feminist Studies at Rutgers University's Institute for Women's Leadership.