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- Creation lake : a novel / by Kushner, Rachel,author.;
"Creation Lake is a novel about a freelance agent, a 34-year-old American woman of ruthless tactics and bold opinions and clean beauty, who is sent to do dirty work in France. "Sadie Smith" is how the narrator introduces herself to her lover, to the rural commune of French subversives on whom she is keeping tabs, and to the reader. We never learn her real name. Sadie has met her lover, Lucien, a young and well-born Parisian, by "cold bump"- making him believe the encounter was accidental. And like everyone she chooses to interact with, Lucien is useful to her, used by her. Sadie operates on strategy and dissimulation, based on what her "contacts," shadowy figures in business and government, instruct. First, these contacts want her to incite provocation. Then they want more. In this region of centuries-old farms and ancient caves, Sadie becomes entranced by a mysterious figure named Bruno Lacombe, a mentor to the young activists, who lives in a vast network of underground caves on his daughter's land and communicates only by email. Bruno believes that the path to emancipation from what ails modern life is not revolt, but a return to the ancient past before civilization. Just as Sadie is certain she's the seductress and puppet master of those whom she surveils, Bruno Lacombe is seducing her with his ingenious counter-histories, his artful laments, his own tragic story. Written in short, vaulting sections, Rachel Kushner's rendition of "noir" is taut, propulsive, and dazzling. Creation Lake is Kushner's finest achievement yet as a novelist, a work of high art, high comedy, keen insights, and unforgettable pleasure. From Rachel Kushner on the title: My character Bruno refers to "a deep cistern of voices, the lake of our creation" - meaning all of human history, the whole struggle in which chains of civilizations try to figure out how to live. He believes he can hear these voices underground. To me, "Creation Lake" suggests intrigue. Creation of what? In Sadie's case, a persona, a feint, a manipulation. But also in her case, the creation possibly of her own soul"--- Subjects: Black humor.; Psychological fiction.; Novels.; Americans; Women intelligence officers;
- Available copies: 0 / Total copies: 2
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- In a land without dogs the cats learn to bark / by Garfinkel, Jonathan,author.;
Spanning generations, continents, and cultures,?In a Land without Dogs the Cats Learn to Bark?is an electric tale about a?nation?trying to emerge from the shadow of the Soviet Union to embrace Western democracy. Driven by a complexly plotted mystery that leads from Moscow to Toronto to Tbilisi, punctuated by wild car chases and drunken jazz reveries, and featuring an eccentric cast of characters including?Georgian performance artists,?Chechen warlords, and KGB spies, Garfinkel delivers a story that questions the price of freedom and laughs at the answer. With exhilarating prose reminiscent of Rachel Kushner and more twists than a John le Carré thriller, In a Land without Dogs the Cats Learn to Bark is a daring, nuanced, and spectacularly entertaining novel by an exceptional talent.- Subjects: Historical fiction.; Political fiction.; Psychological fiction.; Novels.; Democracy;
- Available copies: 1 / Total copies: 1
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- This woman's work : essays on music / by Gleeson, Sinéad,editor.; Gordon, Kim,editor.;
"THIS WOMAN'S WORK is a collection of essays by 18 female writers, writing about exclusively female experiences in music, co-edited by Sonic Youth co-founder Kim Gordon and Irish author Sinead Gleeson. This book celebrates the instrument makers, the experimentalists, the harmonizers, the avant-garde, the genre-breakers, the pop queens, and all those on the margins who expose the lack of intersectionality in this industry. For a long time, the narrative of music has been male-centered and hyper-masculine. The purpose of the women within it was to orbit these men: swooning to Elvis, screaming en-masse at Beatles gigs, or trying to get backstage to sleep with the rock bad boys. When women gained visibility in the music of the 1960s, they were-again-allocated specific tropes: backing singer, lone woman in the band, Motown trios singing innocuous love songs. In the 1970s, at the time Kate Bush became the first woman (at just 17) to have a number one with song she'd written herself, the women of punk began to make their voices heard. But many didn't like these acts of assertion; the femaleness, the raging against gender stereotypes, the Amazonian loudness of it all. Joan Jett recalls being knocked over on stage by flying bottles; The Slits were chased and threatened after gigs and their singer Ari Up was stabbed twice. Even as late as the 1980s, as hip hop gained prominence, it made room for only a handful of women, while trading in misogynist rhymes, where women could only be hoes, bitches or gold diggers. How were young female rappers of color to participate when they didn't see themselves represented in that culture? Trapped within an entertainment industry relentlessly catering to men, these rappers, and many other budding female musicians across a variety of genres in modern music, were often othered and exoticized-until the moment when they dared to own it. To speak up. To shout louder. Digging into the depths of an industry hard-coded for sexism, THIS WOMAN'S WORK is an ode to the thousands of women in music whose stories we don't know. Pioneers whose achievements are undervalued, often by virtue of their gender, or because someone else (many times, a man) took credit for it. Featuring brand new essays from notable feminist writers like Ottessa Moshfegh, Juliana Huxtable, Maggie Nelson, Rachel Kushner, Leslie Jamison, and more, THIS WOMAN'S WORK reminds us to pay our respects to the women who shattered ceilings and kicked in doors, vastly expanding the spectrum of women's influence in the world of modern music"--- Subjects: Essays.; Misogyny.; Music.; Women musicians.;
- Available copies: 1 / Total copies: 1
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