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I love the layout, perspective, and challenge in Beginning to Fully Rely on God. Rebecca Brown's work is God's grace ready to be revealed to those who desire an intentional relationship with God. Whether in the morning, midday, or just before bed, you will find God's truth in your life. Rebecca lets you into her heart as you read her devotions. And then she says, Now it's your turn Tell God what you think And then listen to what God wants you to know. As you turn your attention to answering the questions she has provided after each devotion, you will find in yourself, God's providing. There is healing and direction for life. Get this book and start today opening yourself even more to God's grace. Discover the incredible depth of God's love for you. - Pastor Mike Love, First United Methodist Church of Watauga
The girls on the prowl in The Terrible Girls are indeed terrible--relentless in love, ruthless in betrayal. These thematically linked stories depict a contemporary Gothic world in which body parts are traded for love, wounds never heal, and self-sacrifice is often the only way out.
In this brilliantly original work, Rebecca Brown gives us haunting parables of betrayal and love, of loss and resurrection, of loneliness and solidarity. Like a modern Djuna Barnes, Brown creates a language of telling that is fiercely beautiful and honest. This book is a love story unlike any you have read before. Its subversive and passionate transformation carry the lesbian literary voice onto the 21st century.--Joan Nestle
A dry, witty, graceful--if savage--gift.--Mary Gaitskill
The Terrible Girls comes from one of the fiercest, most potent, original writers around: a bloody flayer of skins, both other's and her own . . . a work of possessed and persuasive visionary power.--The Listener
The Terrible Girls is a powerful account of erotic love which exchanges the comforts of illusion for more complex and less certain rewards.--The Times Literary Supplement
Rebecca Brown is the winner of the 2003 Washington State Book Award. Her books, which are all published by City Lights, include: The Haunted House, The Terrible Girls, The End of Youth, The Last Time I Saw You, The Dogs and Annie Oakley's Girl. She was awarded a Genius Award and grant from Seattle's weekly magazine, The Stranger.
Excerpts from a Family Medical Dictionary is an intimate, exquisite, and true account of what it is to help a parent die. After her mother was diagnosed with terminal cancer, former home care worker and award-winning writer Rebecca Brown cared for her mother during the last six months of her life. This spare, unsentimental book comes out of that experience. In short chapters headed by definitions of medical terms, she confronts anemia, chemotherapy, metastasis, cremation. Brown's is a poignant and unflinching story of how one family coped with loss and learned about the longevity of love.
The Wisconsin edition is for sale only in North America.
In her new nonfiction work You Tell the Stories You Need To Believe, queer novelist Rebecca Brown turns her attention to life's biggest questions: time, love, and how we endure.
Since 1984, and most known for a novel written and set during the AIDS crisis (The Gifts of the Body), Rebecca Brown has been on the forefront of the avant-garde of American letters.
You Tell the Stories You Need to Believe is an exploration of the meaning of life-as told through the cycles of the year, and the art that has been produced about each of the seasons.
As Brown fans know, her distinctive sentences are reason enough to read her. One of the gifts of this book is getting to read about the artists who inspire her-from Melville to Denise Levertov, from Stravinsky to the Monkees. Not to mention the cunning and imaginative ways mythology and religion enter the mix.
The cute and expressive Namuh tribe share a simple, but highly effective way, to avoid TALKING TO A PERSON (oh no!), but stay connected to your Buddies. The adorably fuzzy Namuhs know that everybody wants to be happy, to be loved, to be accepted exactly how they are, to have deep connections, and to belong.
The Namuh tribe has watched the Humans use their screens to make up the life that they wished for others to see. They saw the Humans think that their made-up life story would endear others to them, have others like them, and to connect them to the tribe. They saw the Humans gradually get to where they:
- Preferred texting over talking;
- Prayed others left a voicemail (or better yet a text) so they didn't have to TALK TO A LIVE PERSON (oh no!);
- Hoped the cashier didn't small talk (or even look at them) so they could just put their credit card near the machine and leave;
- Chose to communicate with others sitting right next to you via a screen;
- Avoided eye contact with others;
- Began to hate every other driver out there that was in their way, going too fast, or too slow; and
- Had fewer close friends than they used to.
The Namuhs saw that the more the Humans connected to their screen, the more fixated they became on the screen, the more disconnected they became from everything. The Humans stopped listening to their inner voice and their true nature. Their made-up lives were built on a lie, projected on the screen what they wished for others to see in us. In trying to protect their made-up story, to be liked and to belong, the Humans isolated themselves to the very screens where they made up their life story.
Being playful and in the moment, the Namuhs build their lives on trust, vulnerability, and shared experiences as the very things that connect them to each other and all that is. The Namuhs live an authentic life and share their wisdom in simple stories to help the Humans connect more meaningfully.
Screens entertain us, provide comfort, find us lovers and friends, and allow us to buy life's necessities. We no longer need to leave our homes or have access to other humans. Outside of (anti)social media, most of us would prefer to remain anonymous. Communication, like everything else in the life of a human, is a use of lose skill which is being lost. This book shares a cute and super simple technique to start to communicate again.
In Buddy Check!, Oculos, the nerdy, thoughtful and resourceful Namuh, shares how two simple words via a screen can lead to more meaningful conversations. He teaches us how to Buddy Check!, who to Buddy Check!, and the benefits of Buddy Check! With the help of his buddies (Kallos, Satya, Crus, Skok, Klem, Bata, and Cubo), Oculos discusses the emotions and scenarios in which to us the simple message: Buddy Check!
Join this cast of colorful characters as they teach Humans to communicate again. Buddy check!
Everything and nothing is sacred in Rebecca Brown's essays. Tongue, word, thought, and intellect all conspire in a free language love of living history, divination, sex, solitude and amusement. She is America's only real rock 'n' roll schoolteacher. Lessons layered with profundity and protracted parallels. Where old world religion, Gertrude Stein and Oreo cookies co-exist in an actual and mystic world of wonder.--Thurston Moore, Sonic Youth
If Rebecca Brown's talent for prose were any tighter, it would be a lyric--to a pop standard. An homage--a menage--to America, exposing what's laid bare in a comic tragic redux. I laughed till it hurt.--Van Dyke Parks, Composer/Arranger
Anyone who can get from the Eucharist, to a Necco Wafer, to the goo beween the Oreo wafers, to the Inquisition, to the goo between the legs of excited young women is a distant sibling of mine. She can dash and she can drift and she is not much interested in the really bad parts that might qualify as confession. She likes the float of quotidian living and I like to read the words upon which she floats.--Dave Hickey, author of Air Guitar
The impulse to tell our worst to a bunch of strangers has been fueling American self-hood for 300 years: there's a direct line from the Puritan confession narrative to today's lurid, inescapable exhibitionism. But whose stories are we telling?
This collection of mordant, poignant, and playful essays shows Rebecca Brown at the height of her imaginative and intuitive powers. A wry, incisive social and literary critique is couched in a gonzo mix of pop culture, autobiography, fiction, literary history, misremembered movie plots, and fantasy that plays with the notion of what it is to be American. Fantastical connections and unlikely meetings span the course of America's cultural history in a manic remix, featuring appearances by Brian Wilson, Gertrude Stein, Nathaniel Hawthorne, the Invisible Man, the Abligensian Crusade, John Wayne, Felix Mendelssohn, JFK, Shane, and God.
Rebecca Brown's books include The Gifts of the Body, The Last Time I Saw You, The Haunted House, Terrible Girls, and The End of Youth.
One of the freshest, most memorable story collections of my lifetime. And 'A Good Man, ' one of the most important. Rarer than the newness, the wit, the vivid readability, is the deep caring understanding, the wholeness, the truth which this astonishing, haunting writer creates her people. 'A Good Man' will be a revelation, an epiphany to many a reader.--Tillie Olsen
In Annie Oakley's Girl, people are so much larger, their motives, dreams and mysteries so much more complex than you ever imagined. Love is so much more dangerous, grief so much more powerful, hope so much more tenuous and necessary. I read everything Rebecca Brown writes, watch for her books and hunt down her short stories. She is simply one of the best contemporary lesbian writers around, and Annie Oakley's Girl is stunning.--Dorothy Allison
Brown's fourth (The Terrible Girls, 1992, etc.) mixes fantasy, conjecture, and some realism in seven stories that feature atmospheric neo-feminist allegories and fables. The two longest pieces are the most striking: Annie (originally published in Adam Mars-Jones's Mae West is Dead: Recent Lesbian & Gay Fiction) is about the narrator's love affair with Annie Oakley--it's part historical pastiche, part touching daydream, and part biting satire. Juxtaposing the narrator's western daydreams with grittier realism, Brown manages to force upon her narrator the kind of rude awakening best displayed by Tim O'Brien in Going after Cacciato. She also has a good deal of fun along the way: in one instance, Annie Oakley signs autographs at Saks--the release of her authorized biography coincides with the arrival of the special line of new fall fashions--Annie Oakley Western Wear. A Good Man (which first appeared in Joan Nestle and Naomi Holoch's Women on Women II) is a tribute to a decent man dying of AIDS, nursed off and on by his lesbian friend; the striking Folie a Deux posits a couple who deliberately cripple themselves--one deaf, one blind--so that Each of us had something the other didn't have; and the remaining four stories, published in Britain in 1984, are dreamlike fables. In the best, Love Poem, the narrator and you, an artist (the second person becomes a tic in several of these), sneak into the Tate and destroy the artist's work; The Joy of Marriage is a touching but ideological look at a honeymoon; Grief is about a woman sent off by her clique to a foreign country--she never returns. Occasionally moving, the story's too obliquely personal to make enough sense to a wider audience. Imagistic, edgy fictions about postmodern longing in a world off its screws--and where sadness seems to be a woman's only fate.--Kirkus Reviews
Published in 1993 by City Lights, this collection includes seven stories: Annie, The Joy of Marriage, Folie a Deux, Love Poem, The Death of Napoleon: Its Influence on History, A Good Man, and Grief.
Rebecca Brown is the author of a dozen books of prose including The Last Time I Saw You, The End of Youth, The Dogs, The Terrible Girls (City Lights) and The Gifts of the Body (HarperCollins).
Asian Art is the first comprehensive anthology of important primary documents and key contemporary scholarship on Asian art history.
God's love... it is life-changing.
It is never-ending.
And it is free to all who will accept it
This book is a collection of photos, scriptures, and heartfelt words of praise that you can keep for yourself, or share with a friend as a reminder of God's unconditional love.
Gandhi's use of the spinning wheel was one of the most significant unifying elements of the nationalist movement in India. Spinning was seen as an economic and political activity that could bring together the diverse population of South Asia, and allow the formerly elite nationalist movement to connect to the broader Indian population.
This book looks at the politics of spinning both as a visual symbol and as a symbolic practice. It traces the genealogy of spinning from its early colonial manifestations in Company painting to its appropriation by the anti-colonial movement. This complex of visual imagery and performative ritual had the potential to overcome labour, gender, and religious divisions and thereby produce an accessible and effective symbol for the Gandhian anti-colonial movement. By thoroughly examining all aspects of this symbol's deployment, this book unpacks the politics of the spinning wheel and provides a model for the analysis of political symbols elsewhere. It also probes the successes of India's particular anti-colonial movement, making an invaluable contribution to studies in social and cultural history, as well as South Asian Studies.