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I Love Dick (Semiotext(e) / Native Agents) Paperback – July 14, 2006
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"The Lost Girls of Devon" by Barbara O'Neal
From the Washington Post and Amazon Charts bestselling author of When We Believed in Mermaids comes a story of four generations of women grappling with family betrayals and long-buried secrets. | Learn more
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But my favorite example of the genre is from nearly 20 years ago, and it's by a woman. Chris Kraus's 'I Love Dick' offers the story of a woman named Chris Kraus—also an experimental filmmaker, just like the author—reckoning with her unrequited love for 'Dick ____,' a cultural critic with whom she becomes obsessed. The narrative is an exploration of desire as something other than passivity or inadequacy ('I think desire isn't lack, it's surplus energy—a claustrophobia inside your skin') and relentless romantic pursuit not as self-degradation but a kind of generative, creative act.—The New York Times—
The most important book about men and women written in the last century.—The Guardian—
The intelligence and honesty and total originality of Chris Kraus make her work not just great but indispensable—especially now, when everything is so confusing, so full of despair. I read everything Chris Kraus writes; she softens despair with her brightness, and with incredible humor, too.—Rachel Kushner, author of The Flamethrowers—
A little masterpiece of late twenieth century literature.—East Hampton Star—
Devastatingly funny and sublime... a new classic.—The Seattle Stranger—
Ever since I read I Love Dick, I have revered it as one of the most explosive, revealing, lacerating, and unusual memoirs ever committed to the page... I Love Dick is never a comfortable read, and it is by turns exasperating, horrifying, and lurid, but it is never less than genuine, and often completely illuminating about the life of the mind.—Post Road—
Tart, brazen and funny... a cautionary tale, I Love Dick raises disturbing but compelling questions about female social behavior, power, control.—The Nation—
The biggest art revelation of the year.—The New Zealand Listener—
About the Author
Eileen Myles, named by BUST magazine "the rock star of modern poetry," is the author of more than twenty books of poetry and prose, including Chelsea Girls, Cool for You, Sorry, Tree, and Not Me (Semiotext(e), 1991), and is the coeditor of The New Fuck You (Semiotext(e), 1995). Myles was head of the writing program at University of California, San Diego, from 2002 to 2007, and she has written extensively on art and writing and the cultural scene. Most recently, she received a fellowship from the Andy Warhol/Creative Capital Foundation.
- Item Weight : 15.2 ounces
- Paperback : 280 pages
- ISBN-10 : 9781584350347
- ISBN-13 : 978-1584350347
- Product Dimensions : 6 x 0.8 x 9 inches
- Publisher : Semiotext(e); Later Printing Used Edition (July 14, 2006)
- Language: : English
- ASIN : 1584350342
- Best Sellers Rank: #310,189 in Books (See Top 100 in Books)
- Customer Reviews:
Top reviews from the United States
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The title drew me in on Prime and I savored every moment of the series. Hahn's acting is genius, convincing, surprising even as she's always the rom-com supportive actress. I was blown away. It was good to see Griffin Dunne, and Kevin Bacon's portrayal of a detached, elusive and enigmatic Dick is impressive, he nailed the character. Of course, the series and the book are quite different. The book doesn't have the side stories or characters, merely the letters. Well, at least until my giving up point.
Save the cash and watch the series. Unless you understand esoteric references as they make their way onto just about every page. Can't wait to see what Catherine Hahn does next (Bad Moms 3? lol)
There are many references to other works and art performances and paintings. Chris Krause should be a copywriter because she describes these things in such a way that you may end up ordering some of them (I did).
"History as we understand it is really just an avalance of garbage toppling down." Thinking about this line (p.195) is well worth the price for this subversive tale of unrequited love. And Krause's antagonist sums up her overall dilemma: 'The most important entitlement ...remains the right to speak from a position'
And such lovely subversiveness, non-degreed people are not taken seriously and neither are women. The author fills both of these spaces but overcomes due to her tenacious genius. I loved reading this book and artists as well as literature buffs are bound to love it more! The jury is out on philosophers, they will either love it or hate it. Well done!