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Everyone\u27s always going through something, aren\u27t they? : J.D. Salinger, Sally Rooney, and the Desire to Connect in the Face of Distress
Get PDFLiterature is often centered around the human desire for connection and the struggle to understand one another. This tension is heightened in novels centering adolescents and young adults, who are often insecure in their own identities. J.D. Salinger\u27s fiction is a hallmark of this thematic exploration, yet he fails to interrogate dimensions of gender and class in a meaningful way. Sally Rooney\u27s contemporary work subverts Salinger\u27s within plot structure, distanced communication as a device, and self-synecdoche of distress, as well as her open engagement with class and gender. She demonstrates the power of reckoning with one\u27s own identity, revealing how this opens up individuals to positive change and human connection
Tensile: A Sublime Love Story
No full textTensile: A Sublime Love Story weaves together a 19th century poem of seduction by Percy Bysshe Shelley, with current research on bisphenol contamination in our environment and bodies gathered by biologist Alyce DeMarais. Used to manufacture plastics and resins for food and drink packaging, bisphenol impacts the endocrine system, impairing development and reproductive health with transgenerational effects. 19th century writers didn’t know synthetic plastic would emerge in 1907 to change the world. In the midst of industrialization, Romantic era poets reinvigorated a spiritual connection to nature by portraying the Sublime. Shelley’s “Love’s Philosophy” celebrates the mingling of rivers and oceans as scientists conclude that exposure to bisphenol contamination is ubiquitous. Illustrations were printed directly from single-use plastics (including bread-bag ties, milk bottle caps, drinking straws and contact lens containers) to create sublime landscapes, and explore the irony of our love affair with this monster of our own creation.https://scholarship.rollins.edu/book_arts/1060/thumbnail.jp
Pist Protta 89
No full textSomeone will probably consider the new Pist Protta 89 a perfect example of the zeitgeist: It seems unusually design-elitist and delicious, while at the same time being devoid of content. There is basically nothing but blank paper, which is also full of holes and absences.
But we have no doubt that, in all its simplicity, it appeals to the general population. Because there are no agreed-upon, intellectualizing texts, and it can all be experienced here and now with a pair of ordinary eyes in all its concrete paper tactility.
In addition, the magazine can be read equally well on one side as the other, there is nothing that is up or down, it is very easy to deal with.
We have sought out the printer, where we have found old, used-up punching tools in the scrap box, which we have revitalized in a new artistic context. Perhaps some of the die-cuts have previously been used for well-known and important works of art, we do not know, but now they appear here again in a completely new role, that of the art journal. It\u27s sustainable recycling!
It is actually also a counterpart to one of our old issues, Pist Protta 24 from 1994, where we explored the printer\u27s set box and used all the typographic accessories in the form of lines, frames, borders and vignettes for a graphic artwork in his own right.
Although the new Pist Protta 89 is quite empty, because we have endeavored to completely avoid printing ink, space has nevertheless been found for a single printed image. There really isn\u27t much to say about it, other than that it manifests a proud moment in the history of the Danish foreign service that no one wants to remember anymore.
And then we must not fail to note that Pist Protta turns 40 here in 2021, and the new Pist Protta 89 is thus a delicious appetizer for the big anniversary publication, Pist Protta 90, which is just around the corner.https://scholarship.rollins.edu/book_arts/1085/thumbnail.jp
“COVID-19 Hospital Isolation Affects More Than Just the Sick”
Get PDFThe author faces total hip replacement amid COVID-19 restrictions, politics, and disinformation
