Here are 100 books that Cannibal Old Me fans have personally recommended if you like
Cannibal Old Me.
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We approached our book, theme, and recommendations as readers and lovers of Melvilleās work who were inspired by following in his footsteps to places āwhole oceans away,ā as he describes the Pacific in Moby-Dick. Melville traveled widely and kept up his travels throughout a lifetime of further exploration, as well as voluminous writing. We want to share the exhilaration of traveling witha writer: that is, by reading of Melvilleās travels, traveling to the places he visited, and also hearing from people who know those places too. We hope our book gives readers contact with the many dimensions of global travel, in whatever form they find for themselves.
Based on more than a half-century of research, this work examines on of the most stimulating period's of Melville's life - the four years he spent aboard whaling vessels in the Pacific during the early 1940s.
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa storiesāall reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argueā¦
We approached our book, theme, and recommendations as readers and lovers of Melvilleās work who were inspired by following in his footsteps to places āwhole oceans away,ā as he describes the Pacific in Moby-Dick. Melville traveled widely and kept up his travels throughout a lifetime of further exploration, as well as voluminous writing. We want to share the exhilaration of traveling witha writer: that is, by reading of Melvilleās travels, traveling to the places he visited, and also hearing from people who know those places too. We hope our book gives readers contact with the many dimensions of global travel, in whatever form they find for themselves.
In past and present narratives of the Marquesas, along with other Pacific paradises, writers tend toward sensational or romantic exaggeration. T. Walter Herbert sets the record straight, showing what Melville likely encountered during his sojourn to Nukuhiva. In Herbertās book, Melville is one of three examples of visitors to the islands, along with shipās captain David Porter, whose narrative describes his laying violent waste to villages in the interior, and missionary William Alexander. Herbert shows what these visitors misunderstood about people characterized as āsavagesā and ābarbariansāāreadings that continue to influence cultural attitudes today. No one writes with quite the controlled fury and keen insight of this author!
We approached our book, theme, and recommendations as readers and lovers of Melvilleās work who were inspired by following in his footsteps to places āwhole oceans away,ā as he describes the Pacific in Moby-Dick. Melville traveled widely and kept up his travels throughout a lifetime of further exploration, as well as voluminous writing. We want to share the exhilaration of traveling witha writer: that is, by reading of Melvilleās travels, traveling to the places he visited, and also hearing from people who know those places too. We hope our book gives readers contact with the many dimensions of global travel, in whatever form they find for themselves.
Sanbornās is one of the best books for tracing a thought process experienced by Melville, or many a Western traveler in the Pacific trying to make sense of challenging cultural differences. Focusing on the taboo topic of cannibalism, Sanborn breaks down Western anxieties and fears of the unknown, showing how Melville balanced different cultural perspectives against his own experience. The result is a profoundly informative guide to how one may rethink cultural norms and how Melvilleās later works reflected on his foundational early experiences and travels.
In The Sign of the Cannibal Geoffrey Sanborn offers a major reassessment of the work of Herman Melville, a definitive history of the post-Enlightenment discourse on cannibalism, and a provocative contribution to postcolonial theory. These investigations not only explore mid-nineteenth century resistance to the colonial enterprise but argue that Melville, using the discourse on cannibalism to critique colonialism, contributed to the production of resistance. Sanborn focuses on the representations of cannibalism in three of Melville's key texts-Typee, Moby-Dick, and "Benito Cereno." Drawing on accounts of Pacific voyages from two centuries and virtually the entire corpus of the post-Enlightenment discourse onā¦
The problem is not with the actions young women take but with the toxic, sexist conditions they are responding to.
Tanenbaum found, based on six years of interviews with young people ages 14-30, that young women are navigating a culture littered with gendered dress codes, revenge porn, and sexually explicitā¦
We approached our book, theme, and recommendations as readers and lovers of Melvilleās work who were inspired by following in his footsteps to places āwhole oceans away,ā as he describes the Pacific in Moby-Dick. Melville traveled widely and kept up his travels throughout a lifetime of further exploration, as well as voluminous writing. We want to share the exhilaration of traveling witha writer: that is, by reading of Melvilleās travels, traveling to the places he visited, and also hearing from people who know those places too. We hope our book gives readers contact with the many dimensions of global travel, in whatever form they find for themselves.
We have focused our recommendations on Melvilleās (and other peopleās) takes on Polynesian islands, but Melville also wrote about another crucial Pacific archipelago, the GalĆ”pagos Islands. His collection of sketches, āThe Encantadas,ā explores a very different world from Nukuhiva, Maui, or Tahiti, one nearly empty of human inhabitants, given over to birds, tortoises, iguanas, and insects. Yet here as elsewhere, Melville finds plenty to satisfy his āitch for things remote.ā And here as elsewhere he meditates on human nature: the misfits, petty tyrants, and exiles who might find a home in such a forbidding place. If you think of Melville as an entertaining chronicler of the Pacific world, you will find much in that vein hereābut also philosophy, history, and a sort of melancholy romance.
Best known as the creator of Captain Ahab and the great white whale of Moby-Dick, Herman Melville (1819ā91) found critical and popular success with his first novels, which he based on his adventures in the South Seas. His reputation was diminished by his preoccupation with metaphysical themes and allegorical techniques in later works; and by the time of his death, his books were long forgotten. Generations later, Melville's readers recognized his work as keenly satirical and rich in elements that prefigured the emergence of existentialism and Freudian psychology. Melville's critical fortunes temporarily rebounded in the early to mid-1850s, with theā¦
I grew up in the Scottish countryside, reading passionately. When adults asked what I wanted to be when I grew up, the answer came from my latest book: a nun, an outlaw, a queen, or an explorer. Not until I was in my twenties did I realise that I wanted to be the person behind the covers of a book, not between them. My early stories, written between waitressing shifts, were bafflingly bad. Gradually I began to understand that the fiction I loved was driven by a hidden machinery. I now teach at the Iowa Writersā Workshop and have been lucky enough to explore this idea with many talented students.
Le Guin is a star in fictionās firmament but in this book sheās also a wonderfully modest practitioner of the art of writing. She discusses the sound of your prose, naming characters, repetition, and point of view. I found her chapter on crowding and leaping especially helpful. Crowding is when you follow Keatsā advice to load every rift with ore; leaping is when you skillfully leave things outātwo invaluable skills in fiction, and in life.Ā Ā
From the celebrated Ursula K. Le Guin, "a writer of enormous intelligence and wit, a master storyteller" (Boston Globe), the revised and updated edition of her classic guide to the essentials of a writer's craft.
Completely revised and rewritten to address modern challenges and opportunities, this handbook is a short, deceptively simple guide to the craft of writing.
Le Guin lays out ten chapters that address the most fundamental components of narrative, from the sound of language to sentence construction to point of view. Each chapter combines illustrative examples from the global canon with Le Guinās own witty commentary andā¦
I stumbled upon Hickeyās memoirs and while reading them became captivated not only by the frequently hilarious episodes he recounts from his life, but also by the subject of autobiography and how narrating our life story somehow projects a sense of self and identity to the reader. Trying to grasp this process led me to exploring a wide range of books, and opened up understanding of how our selves are fashioned and what they mean to others. An endlessly fascinating subject.
With an easy-going and very approachable style, Eakin explores how our identity is formed by the autobiographical stories we tell about ourselves. He wears his deeply informed theoretical insights very lightly, and when I encountered this book while working on my book on Hickey, I came away with an appreciation of the importance of narrative in determining who we are, who we think we are, and who we want others to think we are.
Autobiography is naturally regarded as an art of retrospect, but making autobiography is equally part of the fabric of our ongoing experience. We tell the stories of our lives piecemeal, and these stories are not merely about our selves but also an integral part of them. In this way we "live autobiographically"; we have narrative identities. In this book, noted life-writing scholar Paul John Eakin explores the intimate, dynamic connection between our selves and our stories, between narrative and identity in everyday life.
Eakin draws on a wide range of autobiographical writings, from work by Jonathan Franzen, Mary Karr, andā¦
Crossing is a vividly human re-imagining of the love, sacrifices, and accomplishments that two Chinese brothers - American Immigrants - experience as they travel to California to build the Transcontinental Railroad.Ā
How might we live and write otherwise? I am preoccupied by this question, and am fairly certain that at minimum we have to start by imagining it. As a culture worker and writer I hope my projects and experiments do just this. There is so much to reinvent, and so much that interconnects us. I am inspired by the ways the authors of these books take on their times and passions, and tell stories in ways I find unexpected. Their abilities to integrate divergent avenues of thought, deep research, and truly weird characters and circumstances has lit my imagination and I hope it does yours as well!
All of Solnitās writings have been an inspiration but this bookās oscillations between the intimacy of her relationship with her dying mother, the poignant degradation of apricots, and the many little-known and fascinating histories that she miraculously weaves into a truly magical book. Solnit has a way of offering hope in the darkness of some of lifeās most challenging times, by swinging from details of her own life to those of others she knows or has studied. Itās a remarkable read as it takes you along on the nimble journey of her mind and heart.
From the author of Orwell's Roses, a personal, lyrical narrative about storytelling and empathy-a fitting companion to Solnit's A Field Guide to Getting Lost
Finalist for the National Book Critics Circle Award
In this exquisitely written book by the author of A Paradise Built in Hell, Rebecca Solnit explores the ways we make our lives out of stories, and how we are connected by empathy, by narrative, by imagination. In the course of unpacking some of her own stories-of her mother and her decline from memory loss, of a trip to Iceland, of an illness-Solnit revisits fairytales and entertainsā¦
I teach and publish short stories, novels, and flash fiction. Iām also interested in the language people use to critique writing. Concepts (suspense, for example) can be helpful, but they often co-opt the imagination and become gold standards for what good fiction should be. In addition to the writerās voice, Iām interested in the alchemy of the story, which is always greater than the sum of its parts. Right now, Iām writing a book called Accordion Fiction. It's about the shape and rhythm of storiesāhow they contract and expand like an accordion.
This book has a playful quality that engaged me immediately.
I was intrigued by Allisonās adventurous visionāone that sees patterns in nature as models for stories that donāt follow the traditional Aristotelian arc.
Alison analyzes many novels in terms of their shape (waves, spirals, tsunamis, and fractals)āstretching my imagination. She also makes it brilliantly clear that the shape of the heroās journey is just one of many possible shapes for a fictional work.
"How lovely to discover a book on the craft of writing that is also fun to read . . . Alison asserts that the best stories follow patterns in nature, and by defining these new styles she offers writers the freedom to explore but with enough guidance to thrive." āMaris Kreizman, Vulture
A Publishers Weekly Best Book of 2019 | A Poets & Writers Best Books for Writers
As Jane Alison writes in the introduction to her insightful and appealing book about the craft of writing: āFor centuries thereās been one path through fiction weāre most likely to travelā oneā¦
Iāve always been fascinated by monsters. Growing up I saw television shows and read books about famous ones like Bigfoot and Nessie, and always wanted to search for them and discover the truth. That led me to a degree in psychology to learn about human cognition and perception, and a career in folklore to understand how legends and rumors spread. But I also wanted field experience, and spent time at Loch Ness, in Canadian woods said to house Sasquatch, to the Amazon, Sahara, and the jungles of Central America looking for the chupacabra. Along the way became an author, writing books including Tracking the Chupacabra, Lake Monster Mysteries, BigāIf True, and Investigating Ghosts.
Said to be, variously, a werewolf, a dog-hybrid, a hyena, or some unknown beast, it was blamed for killing many dozens of villagers. The French government sent top hunters to kill the beast, and conspiracy theories ran rampant. I recommend Monsters of the Gevaudan because I love the way it blends history, folklore, and investigation into a compelling mystery.
Donāt believe the mystery-mongering TV shows offering wild theories: the truth is in this bookāand itās stranger than fiction.Ā
In a brilliant, original rendition, Monsters of the Gevaudan revisits a spellbinding French tale that has captivated imaginations for over two hundred years, and offers the definitive explanation of the strange events that underlie this timeless story.
In 1764 a peasant girl was killed and partially eaten while tending a flock of sheep. Eventually, over a hundred victims fell prey to a mysterious creature, or creatures, whose cunning and deadly efficiency terrorized the region and mesmerized Europe. The fearsome aggressor quickly took on mythic status, and the beast of the Gevaudan passed into French folklore.
At five years old, Kasiel was found with the pointed ends of his ears cut off. Despite that brutal start, heās lived twelve peaceful years with the man who took him in. Keeping his hair long over his mutilated ears helps him hide the fact that he is Vanrian, aā¦
Iāve been fascinated by (and in love with) language for as long as I can remember; how and why it works, and how slight alterations in phrasing and framing can produce vastly different results in practice. I love looking out for metaphors and phrases that function as tools, directing how we understand and engage with the world. While my research applies these insights to both law and economics, the key takeaways are widely applicable and relevant to all areas of life. I hope you enjoy these books as much as I have.
Shariatmadari writes beautifully, and this book will make you think differently about how we use language and how that language uses and shapes us, both as individual actors and as a society. Our language ā those everyday vocabularies and grammars that we deploy without a second thought ā is neither original nor value-free; instead, āto speak is āto swim in an inherited stream of images and wordsāā, crafted by generations before us. For small talk, this may not matter so much. But for the bigger, weightier things in life, for the things that really matter, the way we talk can have real consequences on what we are able to understand, and how we are able to respond.
There are languages that change when your mother-in-law is present. The language you speak could make you more prone to accidents. Swear words are produced in a special part of your brain.
Over the past few decades, we have reached new frontiers of linguistic knowledge. Linguists can now explain how and why language changes, describe its structures, and map its activity in the brain. But despite these advances, much of what people believe about language is based on folklore, instinct, or hearsay. We imagine a word's origin is it's "true" meaning, that foreign languagesā¦
