Into The Wild Trigger Warnings
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The Wild
Author: K. Webster
language: en
Publisher: Createspace Independent Publishing Platform
Release Date: 2017-08-02
I brought them to the wilderness because we couldn't cope with our reality. The plan was to make a new life that didn't include heartache. No people. No technology. No interference. Just us. A chance to piece together what was broken. But the wilderness is untamed and harsh. Brutal and unforgiving. It doesn't give a damn about your feelings. Tragedy lives there too. No escaping the truths that won't let you go. All you can do is survive where love, no matter how beastly, is the only thing you can truly count on. Confusing. Wrong. Twisted. Beautiful. Sick. Love is wild. And we're going to set it free. WARNING: The Wild is an extremely taboo story. Most will find that the themes in this book will make you incredibly uncomfortable or maybe even offend you. This book is only for the brave, the open-minded, and the ones who crave love in even the most dismal of situations. Extreme sexual themes and violence in certain scenes, which could trigger emotional distress, are found in this story. If you are sensitive to heavy taboo themes, then this story is not for you. Seriously, you've been warned. Don't say I didn't try. You're probably going to cringe many, many, many times. Even if you're on the fence, it's probably not a good idea to proceed. However, if you're intrigued and fearless and kind of sort of trust me, then carry on. This book is for you.
Hatchet
After a plane crash, thirteen-year-old Brian spends fifty-four days in the Canadian wilderness, learning to survive with only the aid of a hatchet given him by his mother, and learning also to survive his parents' divorce.
A Monster with a Thousand Hands
Author: Amy J. Rodgers
language: en
Publisher: University of Pennsylvania Press
Release Date: 2018-09-06
A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation. While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production.