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Amina Cain Reading A Washington University MFA Program Sponsored Reading Cain captures a particular kind of attempt at happiness: trying to be easy on oneself; praying at a Zen monastery; focusing on small pleasures like orchids and neatly folded towels. Event date:.

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    • Dorothy, a publishing project — ENTROPY For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab This amount includes applicable customs duties, taxes, brokerage and other fees. The detached nature of the clinical report allows the patient to communicate aspects of her experience that she was unable to in seemingly subjective first person prose. The reader is also shown the various hierarchies that pervade this seemingly egalitarian environment.

      Even more importantly, Scanlon shows us, as she has with every stylistic maneuver, every type of language, that there is no escaping oneself, however much one fixates on exteriors. This comes through most powerfully in her beautifully rendered prose vignettes that depict imaginary literary works. Gladman elaborates,. Ana Patova Crosses a Bridge is filled with evocative passages like this one, which address questions of projection and psychic discord in a wonderfully concrete, beautifully imagistic way.

      In much the same way that the self is othered, and made strange, familiar pieces of language take on wildly unexpected meanings. For Gladman, the defamiliarization of language and the self are intricately linked.

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      Gladman writes, for instance,. People kept saying other people were fleeing the city and pointed to themselves. We became third persons, but not arrogantly so. Here consciousness is exteriorized and the self made strange. In much the same way that the newspaper is rendered suddenly unfamiliar, even volatile, the self appears as inherently unstable, namely as we are unable to locate the protagonist on either side of the boundary between interior and exterior, real or imagined.

      All of these moments of strangeness, defamiliarization, and recognition occur within uniform, neatly formatted prose blocks. With that in mind, Gladman offers a stunning, incisive exploration of the strangeness housed within all of us, all within the confines of a seemingly docile form. The wallcreeper transitions swiftly from sympathetic companion to a mocking, taunting presence within a house already fraught with tension. Like Gladman, Scanlon, and Cain, Zink creates a relationship between interior and exterior that is complex and multiple, suggesting the very impossibility of mapping the relationship between self and world.

      The wallcreeper in particular becomes sedimented with memory, history, and emotion as the book unfolds. Consider this passage,. The gesture was like a prayer of desparation, but he never raised his eyes, as if to say, there is no one to appeal to for help, not even me.

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      Dorothy, a publishing project

      It was an effective gesture. This scene forms a sharp contrast with other depictions of the wallcreeper, which portray the small bird as mocking, even antagonistic. Zink writes,. I drank more quietly. Her internal conflict, then, is exteriorized, held at a distance for her to behold. With that said, Zink suggests the fluidity of boundaries between interior and exterior, evoking the myriad ways that objects in the world come to embody emotional content, namely as the commonplace items that surround us serve to house our most intimate memories, thoughts, and recollections.

      All points considered, Dorothy: A Publishing Project is an exciting press, focused on a compelling philosophical question.