Thirteen Ways Of Looking At A Man
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Thirteen Ways of Looking at a Man
Images and ideas associated with masculinity are forever in flux. In this book, Donald Moss addresses the never-ending effort of men—regardless of sexual orientation—to shape themselves in relation to the unstable notion of masculinity. Part 1 looks at the lifelong labor faced by boys and men of assessing themselves in relation to an always shifting, always receding, ideal of "masculinity." In Part 2, Moss considers a series of nested issues regarding homosexuality, homophobia and psychoanalysis. Part 3 focuses on the interface between the body experienced as a private entity and the body experienced as a public entity—the body experienced as one’s own and the body subject to the judgments, regulations and punishments of the external world. The final part looks at men and violence. Men must contend with the entwined problems of regulating aggression and figuring out its proper level, aiming to avoid both excess and insufficiency. This section focuses on excessive aggression and its damaging consequences, both to its object and to its subjects. Thirteen Ways Of Looking At A Man will be of great interest not only to psychoanalysts and psychotherapists, but also to a much wider audience of readers interested in gender studies, queer studies, and masculinity.
Thirteen Ways of Looking
Author: Colum McCann
language: en
Publisher: Bloomsbury Publishing
Release Date: 2015-10-08
From the National Book Award-winning and bestselling author of Let the Great World Spin and TransAtlantic, comes a novella and three stories of immediate power and grace 'A superbly crafted and deeply moving collection of fiction...underscores [McCann's] reputation as a contemporary master' Kirkus 'Separate and together, these four works prove McCann a master with a poet's ear, a psychologist's understanding, and a humanitarian's conscience' Publishers Weekly _______________________ A story in this collection has been longlisted for the Sunday Times EFG short story award As it was, it was like being set down in the best of poems, carried into a cold landscape, blindfolded, turned around, unblindfolded, forced, then, to invent new ways of seeing. It is a cold day in January when J. Mendelssohn wakes in his Upper East Side apartment. Old and frail, he is entirely reliant on the help of his paid carer, and as he waits for the heating to come on, the clacking of the pipes stirs memories of the past; of his childhood in Lithuania and Dublin, of his distinguished career as a judge, and of his late wife, Eileen. Later he leaves the house to meet his son Elliot for lunch, and when Eliot departs mid-meal, Mendelssohn continues eating alone as the snow falls heavily outside. Moments after he leaves the restaurant he is brutally attacked. The detectives working on the case search through the footage of Mendelssohn's movements, captured by cameras in his home and on the street. Their work is like that of a poet: the search for a random word that, included at the right instance, will suddenly make sense of everything. Told from a multitude of perspectives, in lyrical, hypnotic prose, Thirteen Ways of Looking is a ground-breaking novella of true resonance. Accompanied by three equally powerful stories set in Afghanistan, Galway and London, this is a tribute to humanity's search for meaning and grace, from a writer at the height of his form, capable of imagining immensities even in the smallest corners of our lives.
Thirteen Ways of Looking at a Black Man
"This is a book of stories," writes Henry Louis Gates, "and all might be described as 'narratives of ascent.'" As some remarkable men talk about their lives, many perspectives on race and gender emerge. For the notion of the unitary black man, Gates argues, is as imaginary as the creature that the poet Wallace Stevens conjured in his poem "Thirteen Ways of Looking at a Blackbird." James Baldwin, Colin Powell, Harry Belafonte, Bill T. Jones, Louis Farrakhan, Anatole Broyard, Albert Murray -- all these men came from modest circumstances and all achieved preeminence. They are people, Gates writes, "who have shaped the world as much as they were shaped by it, who gave as good as they got." Three are writers -- James Baldwin, who was once regarded as the intellectual spokesman for the black community; Anatole Broyard, who chose to hide his black heritage so as to be seen as a writer on his own terms; and Albert Murray, who rose to the pinnacle of literary criticism. There is the general-turned-political-figure Colin Powell, who discusses his interactions with three United States presidents; there is Harry Belafonte, the entertainer whose career has been distinct from his fervent activism; there is Bill T. Jones, dancer and choreographer, whose fierce courage and creativity have continued in the shadow of AIDS; and there is Louis Farrakhan, the controversial religious leader. These men and others speak of their lives with candor and intimacy, and what emerges from this portfolio of influential men is a strikingly varied and profound set of ideas about what it means to be a black man in America today.