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Nose reconstructions have been common in India for centuries. South Korea, Brazil, and Israel have become international centers for procedures ranging from eyelid restructuring to buttock lifts and tummy tucks. Argentina has the highest rate of silicone implants in the world. Around the globe, aesthetic surgery has become a cultural and medical fixture. Sander Gilman seeks to explain why by presenting the first systematic world history and cultural theory of aesthetic surgery. Touching on subjects as diverse as getting a "nose job" as a sweet-sixteen birthday present and the removal of male breasts in seventh-century Alexandria, Gilman argues that aesthetic surgery has such universal appeal because it helps people to "pass," to be seen as a member of a group with which they want to or need to identify. Gilman begins by addressing basic questions about the history of aesthetic surgery. What surgical procedures have been performed? Which are considered aesthetic and why? Who are the patients? What is the place of aesthetic surgery in modern culture? He then turns his attention to that focus of countless human anxieties: the nose. Gilman discusses how people have reshaped their noses to repair the ravages of war and disease (principally syphilis), to match prevailing ideas of beauty, and to avoid association with negative images of the "Jew," the "Irish," the "Oriental," or the "Black." He examines how we have used aesthetic surgery on almost every conceivable part of the body to try to pass as younger, stronger, thinner, and more erotic. Gilman also explores some of the extremes of surgery as personal transformation, discussing transgender surgery, adult circumcision and foreskin restoration, the enhancement of dueling scars, and even a performance artist who had herself altered to resemble the Mona Lisa. The book draws on an extraordinary range of sources. Gilman is as comfortable discussing Nietzsche, Yeats, and Darwin as he is grisly medical details, Michael Jackson, and Barbra Streisand's decision to keep her own nose. The book contains dozens of arresting images of people before, during, and after surgery. This is a profound, provocative, and engaging study of how humans have sought to change their lives by transforming their bodies.

Body image --- Surgery, Plastic --- Social aspects. --- Complications. --- Complications and sequelae --- Admiration. --- Aesthetics. --- African Americans. --- Analogy. --- Anecdote. --- Anesthesia. --- Antiseptic. --- Attractiveness. --- Ayurveda. --- Beauty. --- Body image. --- Bra size. --- Brachioplasty. --- Breast. --- Buttock augmentation. --- Buttocks. --- Caricature. --- Cartilage. --- Centrality. --- Cheek. --- Chin augmentation. --- Cleanliness. --- Clothespin. --- Clothing. --- Cosmetics. --- Credential. --- Credentialing. --- Cultural capital. --- Culture of India. --- Direct experience. --- Disease. --- Earlobe. --- Efficacy. --- Eloquence. --- Enthusiasm. --- Evocation. --- Excess skin. --- Face powder. --- Face. --- Family income. --- Female. --- Foreskin restoration. --- Foreskin. --- Granulation tissue. --- Greatness. --- Hair transplantation. --- Hairstyle. --- Health professional. --- High Art. --- High Renaissance. --- Human nose. --- Human physical appearance. --- Human skin color. --- Human spirit. --- Human tooth. --- Humanism. --- Humorism. --- Humour. --- Hygiene. --- I Wish (manhwa). --- Idealization. --- Invention. --- Keloid. --- Kiss. --- Lighting. --- Local anesthesia. --- Lorenz Oken. --- Middle class. --- Modernity. --- Moral imperative. --- Narrative. --- Parody. --- Peaceful coexistence. --- Penis. --- Physical attractiveness. --- Physician. --- Plastic surgery. --- Popularity. --- Positive liberty. --- Projective identification. --- Real Body. --- Recreation. --- Scalp. --- Scholasticism. --- Self-consciousness. --- Sensibility. --- Seriousness. --- Sincerity. --- Social order. --- Social reality. --- Social status. --- Sophistication. --- Superficiality. --- Swaddling. --- Syphilis. --- The Human Face. --- The Mask. --- Theory of justification. --- Thigh. --- Understanding.

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"Intro to Poetry Writing is always like this: a long labor, a breech birth, or, obversely, mining in the dark. You take healthy young Americans used to sunshine (aided sometimes by Xanax and Adderall), you blindfold them and lead them by the hand into a labyrinth made from bones. Then you tell them their assignment: 'Find the Grail. You have a New York minute to get it.'"--The Poetry Lesson The Poetry Lesson is a hilarious account of the first day of a creative writing course taught by a "typical fin-de-siècle salaried beatnik"--one with an antic imagination, an outsized personality and libido, and an endless store of entertaining literary anecdotes, reliable or otherwise. Neither a novel nor a memoir but mimicking aspects of each, The Poetry Lesson is pure Andrei Codrescu: irreverent, unconventional, brilliant, and always funny. Codrescu takes readers into the strange classroom and even stranger mind of a poet and English professor on the eve of retirement as he begins to teach his final semester of Intro to Poetry Writing. As he introduces his students to THE TOOLS OF POETRY (a list that includes a goatskin dream notebook, hypnosis, and cable TV) and THE TEN MUSES OF POETRY (mishearing, misunderstanding, mistranslating . . . ), and assigns each of them a tutelary "Ghost-Companion" poet, the teacher recalls wild tales from his coming of age as a poet in the 1960's and 1970's, even as he speculates about the lives and poetic and sexual potential of his twenty-first-century students. From arguing that Allen Ginsberg wasn't actually gay to telling about the time William Burroughs's funeral procession stopped at McDonald's, The Poetry Lesson is a thoroughly entertaining portrait of an inimitable poet, teacher, and storyteller.

Poets --- Authors --- A Coney Island of the Mind. --- Aldous Huxley. --- Allen Ginsberg. --- Amiri Baraka. --- An Embarrassment of Riches. --- Anna Akhmatova. --- Aphorism. --- Aram Saroyan. --- Arthur Rimbaud. --- Aubade. --- Barney Rosset. --- Beat Generation. --- Bei Dao. --- Bertolt Brecht. --- Black Man. --- Blank verse. --- Boredom. --- Britney Spears. --- Cataclysm (Dragonlance). --- Charles Bukowski. --- Che Guevara. --- Cunt. --- De Profundis (letter). --- Death in Venice. --- Deathbed. --- Edgar Allan Poe. --- Emily Dickinson. --- English muffin. --- Ezra Pound. --- Feral cat. --- Flapper. --- French Colonial. --- French Communist Party. --- From Beyond the Grave. --- Futility (poem). --- Gabriela Mistral. --- Gaggle. --- Gertrude Stein. --- Gregory Corso. --- Guerrilla warfare. --- Guillaume Apollinaire. --- Heir to the Empire. --- Hippie. --- His Family. --- I Wish (manhwa). --- In Another Country. --- Isadora Duncan. --- Jack Kerouac. --- Jacques Maritain. --- James Merrill. --- Jan Hus. --- Jan Kerouac. --- Jim Morrison. --- Joan Vollmer. --- Junkie (novel). --- Kitsch. --- Lawrence Ferlinghetti. --- Libido. --- Lord Byron. --- Marilyn Monroe. --- Max Jacob. --- McSorley's Old Ale House. --- Memoir. --- Mennonite. --- Mexico City Blues. --- Milan Kundera. --- Miroslav Holub. --- Monomania. --- Mr. --- Naked Lunch. --- Nobel Prize. --- Olga Rudge. --- Orgy. --- Patti Smith. --- Pheromone. --- Pocket watch. --- Poet laureate. --- Poetry. --- Pretty Face. --- Pyramid scheme. --- Racism. --- Rant (novel). --- Red Mass. --- Ridicule. --- Shel Silverstein. --- Sodomy. --- Surrealism. --- Take Shelter. --- The New York Times Book Review. --- The Other Hand. --- The Price of Gold. --- The Scary Guy. --- This Country. --- To This Day. --- Tristan Tzara. --- Under the Volcano. --- Wallace Stevens. --- War and War. --- William Saroyan. --- Young Widow.

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A powerful personal narrative of recovery and an illuminating philosophical exploration of traumaOn July 4, 1990, while on a morning walk in southern France, Susan Brison was attacked from behind, severely beaten, sexually assaulted, strangled to unconsciousness, and left for dead. She survived, but her world was destroyed. Her training as a philosopher could not help her make sense of things, and many of her fundamental assumptions about the nature of the self and the world it inhabits were shattered.At once a personal narrative of recovery and a philosophical exploration of trauma, this bravely and beautifully written book examines the undoing and remaking of a self in the aftermath of violence. It explores, from an interdisciplinary perspective, memory and truth, identity and self, autonomy and community. It offers imaginative access to the experience of a rape survivor as well as a reflective critique of a society in which women routinely fear and suffer sexual violence.As Brison observes, trauma disrupts memory, severs past from present, and incapacitates the ability to envision a future. Yet the act of bearing witness, she argues, facilitates recovery by integrating the experience into the survivor's life's story. She also argues for the importance, as well as the hazards, of using first-person narratives in understanding not only trauma, but also larger philosophical questions about what we can know and how we should live.

Rape victims --- Recovered memory. --- Traumatic shock. --- Victims of violent crimes --- SOCIAL SCIENCE / Women's Studies. --- Psychology. --- Rehabilitation. --- Academic writing. --- Activism. --- Adult. --- All things. --- Allergy. --- Anger. --- Anthropologist. --- Anxiety. --- Aphasia. --- Assault. --- Attempt. --- Aunt. --- Author. --- Bertrand Russell. --- Blame. --- Childbirth. --- Childhood memory. --- Cognition. --- Concept. --- Consciousness. --- Crime. --- Cultural heritage. --- Dichotomy. --- Direct experience. --- Emotion. --- Encoding (memory). --- Feeling. --- Femininity. --- First-person narrative. --- Friendship. --- Genre. --- Grief. --- Hate crime. --- Hospital bed. --- Humiliation. --- I Wish (manhwa). --- Identity politics. --- Illustration. --- Interdependence. --- Invisibility. --- Irony. --- Irrational number. --- J. L. Austin. --- Jurisprudence. --- Marianne Hirsch. --- Mary Joe Frug. --- Medical diagnosis. --- Metaphysics. --- Morphine. --- Mother. --- Narrative therapy. --- Narrative. --- Nausea. --- Neurochemistry. --- Non-human. --- Obstacle. --- Paul Celan. --- Paul Fussell. --- Performative utterance. --- Personal identity. --- Personal narrative. --- Phenomenon. --- Philosopher. --- Pierre Janet. --- Political philosophy. --- Pornography. --- Posttraumatic stress disorder. --- Psychoanalysis. --- Psychological trauma. --- Psychotherapy. --- Rape. --- Robin West. --- Sadness. --- Self-defense. --- Self-esteem. --- Series (mathematics). --- Sertraline. --- Sexual assault. --- Sexual violence. --- Slavery. --- Sophie's Choice (novel). --- Speech act. --- Stabbing. --- Startle response. --- State of affairs (sociology). --- Steroid. --- Superiority (short story). --- Symptom. --- The New York Times. --- The Other Hand. --- Theory. --- Title IX. --- Total loss. --- Unconsciousness. --- Understanding. --- Utilitarianism. --- Victimisation. --- Violence Against Women Act. --- Violence. --- Writing. --- Victims of violence --- Victims of crimes --- Violent crimes --- Shock --- Traumatology --- Wounds and injuries --- Delayed memory --- Recovered memories --- Repressed memory --- Memory --- False memory syndrome --- Female rape victims --- Sexual abuse victims --- Brison, Susan J. --- Philosophical anthropology

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What do we mean when we say that a novel's conclusion "feels right"? How did feeling, form, and the sense of right and wrong get mixed up, during the nineteenth century, in the experience of reading a novel? Good Form argues that Victorian readers associated the feeling of narrative form-of being pulled forward to a satisfying conclusion-with inner moral experience. Reclaiming the work of a generation of Victorian "intuitionist" philosophers who insisted that true morality consisted in being able to feel or intuit the morally good, Jesse Rosenthal shows that when Victorians discussed the moral dimensions of reading novels, they were also subtly discussing the genre's formal properties.For most, Victorian moralizing is one of the period's least attractive and interesting qualities. But Good Form argues that the moral interpretation of novel experience was essential in the development of the novel form-and that this moral approach is still a fundamental, if unrecognized, part of how we understand novels. Bringing together ideas from philosophy, literary history, and narrative theory, Rosenthal shows that we cannot understand the formal principles of the novel that we have inherited from the nineteenth century without also understanding the moral principles that have come with them. Good Form helps us to understand the way Victorians read, but it also helps us to understand the way we read now.

Ethics in literature. --- English fiction --- History and criticism. --- 1800-1899 --- Analogy. --- Anecdote. --- Autobiography. --- Backstory. --- Bildungsroman. --- Cambridge University Press. --- Character (arts). --- Charles Dickens. --- Conscience. --- Consciousness. --- Crime fiction. --- Criticism. --- Critique of Pure Reason. --- D. A. Miller. --- Daniel Deronda. --- Deus ex machina. --- E. M. Forster. --- Edward Bulwer-Lytton. --- Elizabeth Gaskell. --- Epic poetry. --- Ethics. --- Eugene Aram. --- Explanation. --- Fiction. --- Franco Moretti. --- Fredric Jameson. --- Genre fiction. --- Genre. --- George Eliot. --- George Meredith. --- Good and evil. --- Groundwork of the Metaphysic of Morals. --- Gwendolen Harleth. --- Gwendolen. --- Halpern. --- Historical fiction. --- Humour. --- I Wish (manhwa). --- Ian Watt. --- Illustration. --- Intuitionism. --- Jack Sheppard. --- James Clerk Maxwell. --- John Stuart Mill. --- Johns Hopkins. --- Jonathan Wild. --- Laughter. --- Lecture. --- Leopold Zunz. --- Literary criticism. --- Literary realism. --- Literature. --- Mary Barton. --- Meditations. --- Middlemarch. --- Misery (novel). --- Morality. --- Narration. --- Narrative structure. --- Narrative. --- Newgate novel. --- Novel. --- Novelist. --- Oxford University Press. --- Parody. --- Paul Clifford. --- Phenomenon. --- Philosopher. --- Philosophy. --- Poetry. --- Political philosophy. --- Practical reason. --- Probability. --- Prose. --- Publication. --- Quantity. --- Reason. --- Ridicule. --- Roland Barthes. --- Rookwood (novel). --- Sensation novel. --- Steven Marcus. --- Subplot. --- Suggestion. --- Teleology. --- The Intuitionist. --- The Life and Opinions of Tristram Shandy, Gentleman. --- The Marriage Plot. --- The Other Hand. --- The Pickwick Papers. --- Theft. --- Theory. --- Thought. --- Usage. --- Utilitarianism. --- Victorian literature. --- William Harrison Ainsworth. --- William Whewell. --- Writer. --- Writing.