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Bezig met laden... Final Girldoor Daphne Gottlieb
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Meld je aan bij LibraryThing om erachter te komen of je dit boek goed zult vinden. Op dit moment geen Discussie gesprekken over dit boek. Sexy and smart assed, at times both dizzying and disturbing, humorous and harrowing, San Francisco-based performance poet Daphne Gottleib is all the proof one needs that ‘page’ and ‘stage’ in poetry can thrive together and enrich each other. This is daring, heady and energetic stuff, perfect for Halloween – or Women’s History Month. The final girl is the last man standing in a slasher flick: “Even during that final struggle she is now weak and now strong, now flees the killer and now charges him, now stabs and is stabbed, now cries out in fear and now shouts in anger,” according to Carol J. Clover in her essay “Her Body, Himself: Gender in the Slasher Film.”* Inspired by this paradoxical character, Daphne Gottlieb uses the final girl to inform her poetry in this sharp, witty and moving collection. In these poems, Gottlieb challenges sexism, hate crimes and gender bias. She defies social mores that define masculinity and femininity. And, most startling of all, she conveys the fear haunts the reality of someone who lives and acts outside the realm of gender normalcy. Also a performance poet and, recently, graphic novelist, Gottlieb writes verse that both screams and whispers, shatters clichés with sizzling wordplay, and grounds her theories with solid, vivid details. She employs experimental techniques that emphasize both the immediacy and wide range of gender bias by rearranging phrases from everyday and historical sources, sampling Sojourner Truth’s speeches, the captivity narrative of Mary Rowlandson, a newspaper article about a hate crime. Plenty more material draws from the language and imagery of horror films, including the “Final Girl” cycle, a sequence of ten poems that form the thematic core, where she even reminds us of our implicit participation: “We control the horizontal. / We control the vertical. / We control the abduction.” Gottlieb gives voice to the characters whose side we don’t hear: transvestite, victim’s mother, exile. In “The Other Woman,” she states her case with staggering emotional force in punched-out lines: “Have you ever seen flood damage? / Your husband came over / and burst over in my lap … There is nothing / going on. I took nothing / you wanted. You can’t / have it back.” * Also available from the library in the collection The dread of difference : gender and the horror film / edited by Barry Keith Grant) The final girl is the last man standing in a slasher flick: "Even during that final struggle she is now weak and now strong, now flees the killer and now charges him, now stabs and is stabbed, now cries out in fear and now shouts in anger," according to Carol J. Clover in her essay "Her Body, Himself: Gender in the Slasher Film." (Available in the collection The Dread of Difference: Gender and the Horror Film.) Inspired by this dynamic character, Daphne Gottlieb uses the final girl to inform her poetry in this sharp, witty and moving collection. In these poems, Gottlieb challenges sexism, hate crimes and gender bias. She defies social mores that define masculinity and femininity. And, most startling of all, she conveys the fear that haunts the reality of someone who lives and acts outside the realm of gender normalcy. Also a performance poet and, recently, graphic novelist, Gottlieb writes verse that both screams and whispers, shatters clichés with sizzling wordplay, and grounds her theories with solid, vivid details. She employs experimental techniques that emphasize both the immediacy and wide range of gender bias by rearranging phrases from everyday and historical sources, sampling Sojourner Truth's speeches, the captivity narrative of Mary Rowlandson, a newspaper article about a hate crime. Plenty more material draws from the language and imagery of horror films, including the "Final Girl" cycle, a sequence of ten poems that form the thematic core, where she even reminds us of our implicit participation: "We control the horizontal. / We control the vertical. / We control the abduction." Gottlieb gives voice to the characters whose side we don't hear: transvestite, victim's mother, exile. In "The Other Woman," she states her case with staggering emotional force in punched-out lines: "Have you ever seen flood damage? / Your husband came over / and burst over in my lap … There is nothing / going on. I took nothing / you wanted. You can't / have it back." Recommended by Renée, June 2007 Carnegie Library of Pittsburgh Staff Picks geen besprekingen | voeg een bespreking toe
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Final Girl -- the last girl left alive in the syntax of the "slasher"-- traces the history of the femme fatale in a sequence of poems and stories that display the verve and wit readers have come to expect from Gottlieb. In Final Girl Gottlieb is the survivor, the one who remains to tell the story: what was done to others, what was done to her, what might yet be done to her.Sexy and tart, dark and comic, low-down and high-hearted poems such as Suture, Slash, Vamp, Bride of Reanimator andThe Babysitter Gottlieb identifies and articulates the desires, fears, traumas, both personal and social, out of which pop culture is made...and then she feeds pop culture back to itself.Though the slasher flick is central, Gottlieb finds resonances in sources as disparate as the early American captivity narrative, queer and feminist film theory, and her own mother's death from breast cancer. Through such iconic American figures as Mary Rowlandson, Marilyn Monroe and Patty Hearst, Gottlieb delineates the ways in which we're betrayed by our cultural fantasies about abduction, gender, literature, pleasure, and transgression--and, in so doing, synthesizes the death and life of the American female. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)811.54Literature English (North America) American poetry 20th Century 1945-1999LC-classificatieWaarderingGemiddelde:
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While reading these raw, unique prose and intricately woven together words, I felt a comfort that this person had experienced similar situations as myself.
The reason I mentioned not having initially read the synopsis is because by reading that it was presented as a pop culture reference in films with its supposed theme of horror, trauma and fears; not only did it lose its authenticity, but it also took away that personal connection that I appreciate most in a book.
In conclusion, it's still a great read. My subjective response has nothing to do with its immaculate content. ( )