Cunt

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Jesse Kellerman

Arthur Pfefferkorn, is a middle-aged college professor with long dead literary aspirations. When his oldest friend, successful thriller writer William de Vallee, is lost at sea, Pfefferkorn is torn between envy and grief, for de Vallee not only outshone Pfefferkorn professionally, but married the woman Pfefferkorn loved. He struggles with his failed ambitions while reflecting on his late friend's successes and marriage. He decides to take the best-selling author's latest manuscript and publish it as his own. Although the novel brings him great success, his life soon spirals into a series of betrayals and double-crosses torn straight from the pages of his plagiarized work. His decision to reconnect with de Vallee's widow sets in motion a surreal chain of events, plunging him into a shadowy realm of intrigue, a world where no one can be trusted, and nothing can be taken seriously.

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Shawn Klomparens

An earnest journey from heartache to heartthrob and all the emotions along the way; at once an old-fashioned love story and a cautionary tale of self-reinvention.In San Diego County, it hasn't rained in 580 days. But for weatherman Andy Dunne, everything else is changing fast...Only a few weeks ago, he was a newly divorced, slightly overweight meteorologist for an obscure satellite radio station, hiding his secret love for a colleague, the beautiful--and very much married--Hillary Hsing. But nearly overnight, Andy has landed a new gig, flying a magic carpet in a bizarre live-action children's TV show. So what is affable, basically decent Andy Dunne going to do now that he can do practically anything he wants? With a parade of hot moms begging for his autograph and a family that needs his help more than ever, Andy has a lot of choices. First, though, there's this thing with Hillary, their heated text messages, a long-awaited forecast for rain -- and a few other surprises he never saw coming...From the Trade Paperback edition.

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Jill Campbell

Examining Henry Fielding's sustained, often ambivalent engagement with questions of gender, Natural Masques breaks with old critical commonplaces that contrast Fielding's "masculinity" with Samuel Richardson's "feminine" sensibilities. It argues that a preoccupation with the tenuousness of gendered identity appears throughout Fielding's writings, and that Fielding shared that preoccupation with his contemporaries. It therefore offers an argument about Fielding's period as well as about his major works, which are analyzed in connection with a variety of related texts - from satires on the castrati to educational treatises, Whig propaganda, and debates in political theory. Approaching gender as a complex system of relations, Campbell investigates Fielding's treatments of masculine and feminine identities across the arenas of eighteenth-century political, social, and literary conflict and change. The plays with which Fielding began his literary career are particularly explicit concerning his interest in problems of gender. Some of their most recurrent satiric targets - domineering women, castrato singers, beaux - disrupt the expected economy of sexual roles, and Fielding's productions of his own plays often featured the dramatic spectacle of this disruption, with men cast in women's roles, and women in men's. In the opening scenes of Joseph Andrews, Fielding frames his parodic response to Pamela by reversing the sexes of the two participants in Richardson's scenario of embattled chastity. Campbell shows how throughout Fielding's writings, the suspicion that sexual roles are merely assumed - and therefore subject to alteration and appropriation - intimates a more general possibility that personal identity is always in some sense impersonated, incoherent, mutable. . Campbell draws on recent work that sees the eighteenth century as a crucial moment in the history of sexuality and gender, and she critiques new treatments of the novel's function in defining domestic femininity.

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Paul Ricœur

"Trois visées philosophiques traversent cette suite d'études. Selon la première, est cherché pour le soi un statut qui échappe aux alternances d'exaltation et de déchéance qui affectent les philosophies du sujet en première personne : dire soi n'est pas dire je. Tenu pour le réfléchi de toutes les personnes grammaticales comme dans l'expression : le souci de soi, le soi requiert le détour d'analyses qui amènent à articuler diversement la question qui? Qui est le locuteur de discours? Qui est l'agent ou le patient de l'action? Qui est le personnage du récit? A qui est imputée l'action placée sous les prédicats du bon ou de l'obligatoire? Enquêtes pour l'essentiel empruntées à la philosophie dite analytique, avec laquelle l'herméneutique du soi entre dans un débat serré. Deuxième visée : l'identité que suggère le terme même est à décomposer entre deux significations majeures : l'identité-idem de choses qui persistent inchangées à travers le temps, et l'identité-idem de celui qui ne se maintient qu'à la manière d'une promesse tenue. Enfin c'est l'antique dialectique du Même et de l'Autre qui doit être renouvelée si l'autre que soi-même se dit de multiples façons ; le comme de l'expression soi-même comme un autre peut dès lors signifier un lien plus étroit que toute comparaison : soi-même en tant qu'autre. Autant de fragments stratifiés d'une philosophie pratique, qui a renoncé à toute ambition de fondation ultime, et qui pourtant ne manque ni de l'assurance ni de la confiance qu'engendre l'attestation de soi-même comme un autre." P. [4] of cover.