Labarge emily (72 resultados)

Condición: As New. Unread book in perfect condition.

Condición: New.

Paperback. Condición: New. "The Good Story may be every story you write, but the Good Story is also not your story." Dog Days considers why we tell stories the way we do, and how we might tell them otherwise. Combining memoir and essay, cultural criticism and literary experiment, it begins with a personal trauma-the account of how Emily LaBarge and her family were held hostage during the Christmas holidays of 2009-but looks outwards as much as inwards for answers. Skilful and controlled, but also searching and febrile, this is a book that unsettles time and narrative, art and imagination, embodying in form the trauma that it describes. Taking in writers and artists from Vivian Gornick to Robert Burton, David Lynch to Sylvia Plath, LaBarge picks apart the structures of narrative forms to ask how it might be possible to tell the "Good Story", and its aftermath, on its own terms.…

Condición: As New. Unread book in perfect condition.

Condición: New.

Paperback. Condición: new. Paperback. "A stunning memoir."--Jennifer Szalai, The New York TimesA NEW YORK TIMES AND LIT HUB MOST ANTICIPATED BOOK - A JUNE ABA INDIE NEXT PICKDog Days unfolds in the long shadow of freak violence--where language stammers, time loops, and the body remembers what the mind can't.In 2009, Emily LaBarge and her family were held hostage while on vacation. A crocheted blanket was placed over her head while Mrs. Doubtfire and "Agnus Dei" played on repeat.In the years that follow, a therapist encourages her to lie in exactly the same position, "just like how it happened, for as long as it happened, and for as long as it takes until the pain comes out"--otherwise it will never leave. She tries to find "the good story" neat, polite, reassuring. But what happens to the things the good story leaves out?A high-voltage synthesis of memoir, criticism, and psychoanalytic theory--drawing upon film and writing from Mulholland Drive to It's a Wonderful Life, Virginia Woolf to Janet Malcolm--Dog Days writes into this question. How do language and institutions constrain and distort our understanding of trauma, violence, and care? How might we write otherwise, telling a story, and its aftermath, on our own terms? The result is not only a prose work but also a practice: an insistence on more radical, more complex forms of engagement, a search for the place where writing becomes a way of surviving. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condición: New.

Paperback. Condición: New.

paperback. Condición: New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Paperback. Condición: new. Paperback. "The Good Story may be every story you write, but the Good Story is also not your story." Dog Days considers why we tell stories the way we do, and how we might tell them otherwise. Combining memoir and essay, cultural criticism and literary experiment, it begins with a personal trauma-the account of how Emily LaBarge and her family were held hostage during the Christmas holidays of 2009-but looks outwards as much as inwards for answers. Skilful and controlled, but also searching and febrile, this is a book that unsettles time and narrative, art and imagination, embodying in form the trauma that it describes. Taking in writers and artists from Vivian Gornick to Robert Burton, David Lynch to Sylvia Plath, LaBarge picks apart the structures of narrative forms to ask how it might be possible to tell the "Good Story", and its aftermath, on its own terms. Dog Days considers why we tell stories the way we do, and how we might tell them otherwise. Combining memoir and essay, cultural criticism and literary experiment, it begins with a personal trauma but looks outwards as much as inwards for answers. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: Good. "A stunning memoir."--Jennifer Szalai, The New York Times A NEW YORK TIMES AND LIT HUB MOST ANTICIPATED BOOK * A JUNE ABA INDIE NEXT PICK Dog Days unfolds in the long shadow of freak violence--where language stammers, time loops, and the body remembers what the mind can't. In 2009, Emily LaBarge and her family were held hostage while on vacation. A crocheted blanket was placed over her head while Mrs. Doubtfire and "Agnus Dei" played on repeat. In the years that follow, a therapist encourages her to lie in exactly the same position, "just like how it happened, for as long as it happened, and for as long as it takes until the pain comes out"--otherwise it will never leave. She tries to find "the good story": neat, polite, reassuring. But what happens to the things the good story leaves out? A high-voltage synthesis of memoir, criticism, and psychoanalytic theory--drawing upon film and writing from Mulholland Drive to It's a Wonderful Life, Virginia Woolf to Janet Malcolm--Dog Days writes into this question. How do language and institutions constrain and distort our understanding of trauma, violence, and care? How might we write otherwise, telling a story, and its aftermath, on our own terms? The result is not only a prose work but also a practice: an insistence on more radical, more complex forms of engagement, a search for the place where writing becomes a way of surviving.…

Paperback. Condición: Very Good. "A stunning memoir."--Jennifer Szalai, The New York Times A NEW YORK TIMES AND LIT HUB MOST ANTICIPATED BOOK * A JUNE ABA INDIE NEXT PICK Dog Days unfolds in the long shadow of freak violence--where language stammers, time loops, and the body remembers what the mind can't. In 2009, Emily LaBarge and her family were held hostage while on vacation. A crocheted blanket was placed over her head while Mrs. Doubtfire and "Agnus Dei" played on repeat. In the years that follow, a therapist encourages her to lie in exactly the same position, "just like how it happened, for as long as it happened, and for as long as it takes until the pain comes out"--otherwise it will never leave. She tries to find "the good story": neat, polite, reassuring. But what happens to the things the good story leaves out? A high-voltage synthesis of memoir, criticism, and psychoanalytic theory--drawing upon film and writing from Mulholland Drive to It's a Wonderful Life, Virginia Woolf to Janet Malcolm--Dog Days writes into this question. How do language and institutions constrain and distort our understanding of trauma, violence, and care? How might we write otherwise, telling a story, and its aftermath, on our own terms? The result is not only a prose work but also a practice: an insistence on more radical, more complex forms of engagement, a search for the place where writing becomes a way of surviving.…

Condición: New.

Paperback. Condición: New. "The Good Story may be every story you write, but the Good Story is also not your story." Dog Days considers why we tell stories the way we do, and how we might tell them otherwise. Combining memoir and essay, cultural criticism and literary experiment, it begins with a personal trauma-the account of how Emily LaBarge and her family were held hostage during the Christmas holidays of 2009-but looks outwards as much as inwards for answers. Skilful and controlled, but also searching and febrile, this is a book that unsettles time and narrative, art and imagination, embodying in form the trauma that it describes. Taking in writers and artists from Vivian Gornick to Robert Burton, David Lynch to Sylvia Plath, LaBarge picks apart the structures of narrative forms to ask how it might be possible to tell the "Good Story", and its aftermath, on its own terms.…

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: Very Good. "The Good Story may be every story you write, but the Good Story is also not your story." Dog Days considers why we tell stories the way we do, and how we might tell them otherwise. Combining memoir and essay, cultural criticism and literary experiment, it begins with a personal trauma-the account of how Emily LaBarge and her family were held hostage during the Christmas holidays of 2009-but looks outwards as much as inwards for answers. Skilful and controlled, but also searching and febrile, this is a book that unsettles time and narrative, art and imagination, embodying in form the trauma that it describes. Taking in writers and artists from Vivian Gornick to Robert Burton, David Lynch to Sylvia Plath, LaBarge picks apart the structures of narrative forms to ask how it might be possible to tell the "Good Story", and its aftermath, on its own terms. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.…

Paperback. Condición: New.

Trade Paperback. Condición: New. New! // A NEW YORK TIMES AND LITERARY HUB MOST ANTICIPATED BOOK Dog Days unfolds in the long shadow of freak violence--where language stammers, time loops, and the body remembers what the mind can't. 'An incandescent book, a landmark in how to bring language to bear on the unspeakable. Beautiful, uncompromising, rigorous and totally original.'--Olivia Laing, author of The Lonely City In 2009, Emily LaBarge and her family were held hostage while on vacation. A crocheted blanket was placed over her head while Mrs. Doubtfire and 'Agnus Dei' played on repeat. In the years that follow, a therapist encourages her to lie in exactly the same position, 'just like how it happened, for as long as it happened, and for as long as it takes until the pain comes out'--otherwise it will never leave. She tries to find 'the good story' neat, polite, reassuring. But what happens to the things the good story leaves out? A high-voltage synthesis of memoir, criticism, and psychoanalytic theory--drawing upon film and writing from Mulholland Drive to It's a Wonderful Life, Virginia Woolf to Janet Malcolm-- Dog Days writes into this question. How do language and institutions constrain and distort our understanding of trauma, violence, and care? How might we write otherwise, telling a story, and its aftermath, on our own terms? The result is not only a prose work but also a practice: an insistence on more radical, more complex forms of engagement, a search for the place where writing becomes a way of surviving.…

Condición: New.

Paperback. Condición: New. Artist Daphne Wright is fascinated with the collections of the Ashmolean Museum and the history of seeing they present. Her latest project grows out of a lifetime's engagement with this theme. Much of Wright's existing body of work is steeped in a deep understanding of the iconography and history of Western art, as represented in the Ashmolean's extensive collection. This book establishes connections to the Ashmolean's rich collection of 17th century Dutch Still Life paintings. These genre paintings portray a range of subjects from arrangements of flowers to fruit, fish and game. Sometimes the paintings include a symbolic reference to the transience of life, in the form of fruit that has begun to rot or flowers that are losing petals. In Fridge Still Life, the exposed body of a fridge, containing upon its shelves a raw chicken and bundle of asparagus, is topped with a vase of wilting tulips. This is a contemporary re-telling of a still life painting, with its various familiar elements, such as a brace of hanging pheasants, a bowl of fruit and a vase of blooms, with can connote status or vanitas. Wright has explored the transitory nature of life throughout her practice. In previous work, Wright has used plants and animals, with their shorter life spans, to stand in for the human. Wright's work also resonates strongly with the Ashmolean's extensive and celebrated cast collection. Prominent amongst the plaster casts of Greek and Roman sculptures are the gods and heroes of Homeric legend. These idealised images of men still form the basis of our ideas of masculinity today. With Sons on Couch Wright is seeking to capture the elusive moment of transition into manhood. The athletic figures in the cast court may have been updated to social media influencers, but the pressure young men face today to achieve a perceived ideal body type remain the same.…

Paperback / Softback. Condición: Brand New. 256 pages. 7.80x5.08x0.79 inches. In Stock.

Condición: new.

paperback. Condición: New. Brand New.

Paperback. Condición: New.

Condición: As New. Unread book in perfect condition.

paperback. Condición: New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

paperback. Condición: New. Condition Notes: New from the publisher.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Paperback. Condición: Brand New. 128 pages. 7.00x5.00x0.50 inches. In Stock.

Condición: New.