Archives par étiquette : Frances Goldin Literary Agency

THE GRIEF CURE de Cody Delistraty

In this lyrical and moving story of the world of Prolonged Grief, journalist Cody Delistraty reflects on his experience with loss and explores what modern science, history, and literature reveal about the nature of our relationship to grief and our changing attitudes toward its cure.

THE GRIEF CURE
by Cody Delistraty
HarperCollins, June 2024
(via Frances Goldin Literary Agency)

When Cody Delistraty lost his mother to cancer in his early 20s, he found himself unsure how to move forward. Planning for her recovery, he and his family had a purpose. But after she was gone, there seemed to exist only the empty advice on grief: move through the five stages, achieve closure, get back to work, go back to normal. So begins a journey into the new frontiers of grief, where Delistraty seeks out the researchers, technologists, therapists, marketers, and communities around the world looking to cure the pain of loss in novel ways. From the neuroscience of memory deletion to book prescriptions, laughter therapy, psilocybin, and Breakup Bootcamp, what ultimately emerges is not so much a cure as a fresh understanding of what living with grief truly means.

As Delistraty followed the blueprint of his own ad hoc treatment plan, the question of whether the most painful kind of grief can and should be cured had also been taken up by the American Psychiatry Association, as they recently gave extended, intense, disruptive grief an official name: Prolonged Grief Disorder. Stamping this kind of grief with a diagnosis has opened innovative avenues of treatment and an important conversation about a debilitating form of grief, but it also raises the question of whether grief, no matter how severe, is best treated medically at all?

Rigorously researched and beautifully written, The Grief Cure is a moving and eye-opening chronicle of a new diagnosis and a wide-ranging cultural history of grief of all sorts as a human rite. Braiding deep, emotional resonance with sharp research and historical insight, Delistraty places his own experience in dialogue with great writers and thinkers throughout history who have puzzled over this eternal question: how might we best face loss?

Cody Delistraty is the culture editor at The Wall Street Journal Magazine. He has written essays and criticism for The New York Times, The New Yorker, The Atlantic and, while living in Paris for several years, he was the European arts columnist for The Paris Review. He has degrees in politics from New York University and history from the University of Oxford, where he graduated with a double distinction (first class). He and his work have been featured on WNYC, France 5 and Arté; British Vogue named him a best young writer of the year; and he has given corporate talks about tragedy, art, and creativity to companies like PwC.

RULES FOR GHOSTING de Shelly Jay Shore

RULES FOR GHOSTING combines the humor, fraught-but-loving family dynamics, and obsession with death seen in books like Mostly Dead Things, One Last Stop, and Fun Home. It is the gay, Jewish, Six Feet Under we’ve all been waiting for.

RULES FOR GHOSTING
by Shelly Jay Shore
Ballantine, Summer 2024
(via Frances Goldin Literary)

Twenty-eight-year-old Ezra Friedman is only a little bit clairvoyant, but enough to make growing up in a funeral home miserable. Maybe it wouldn’t have been so bad if his Zayde’s ghost didn’t keep giving him this look of betrayal and disapproval as he went through an HRT-induced second puberty, or if the dead’s hands weren’t so cold. But, it’s no wonder that Ezra would want to get as far away as possible from the family business.
With his parents’ marriage imploding, Ezra finds himself pulled back into the effort to help save the Friedman Family Memorial Chapel from financial ruin. That means long days of puzzling out his mom’s cryptic filing systems while surrounded by the ghosts no one else can see, while balancing his role as referee between the warring factions of his family. Add in his unfortunate crush on the cute funeral home volunteer who just happens to live downstairs from where Ezra and his ex are now living together as friends, and the new ghost who keeps breaking every spectral rule Ezra’s managed to figure out about the dead, and Ezra’s more than ready to make another run for the hills.
The more Ezra learns about the tangled web of secrets that haunt the Chapel’s halls, the harder it is to maintain the distance that (he thought) kept him sane. As the pressure mounts to figure out how to keep the funeral home from being snapped up by a corporate “body farm”, Ezra is forced to do something he never thought possible.

Shelly Jay Shore (she/they) is a writer, digital strategist, and nonprofit fundraiser. Their writing on queer Jewish identity has been published by Autostraddle, Alma, and the Bi Resource Center. RULES FOR GHOSTING is her debut novel.

RAPE GIRL de Jamie Hood

A necessarily illuminating text, imagining stranger, more radical models of storytelling. Combining the hybridity of Camen Maria Machado’s In the Dream House with the intensity of Maggie Nelson’s The Art of Cruelty, RAPE GIRL promises to do for sexual violence what Citizen did for conversations around race, and become part of a new wave of cultural resistance.

RAPE GIRL:
A Study in Nine Parts
by Jamie Hood
Pantheon/Random House, Spring 2024
(via Frances Goldin Literary)

In many ways, RAPE GIRL: A STUDY IN NINE PARTS is the book that essayist, critic, and poet Jamie Hood has been writing her entire life. In the thirty years since her first sexual assault (age six, by the neighbor), it has taken many forms: a chronological, straight memoir of violence; a book-length poem; a manifesto; a novel. In the wake of each subsequent attack (twice as a teenager, several times in graduate school, most recently at a Brooklyn bar), and resultant attempt to narrativize the violence, what became clear was that no single genre was able to capture the entirety of what she was trying to say.
Trauma disorients the very possibility of straightforward narrative, so then why do we expect our tellings of it to be linear and easily digestible? RAPE GIRL asks: what is rape at its core? And beyond: how would an account of rape that acknowledges and incorporates the truth of trauma as an experience shift the conversation?
Told in nine parts—media historical, political, poetic, autofictional, literary critical, and memoiristic—RAPE GIRL reckons with the confessional imperative of survivors and the role of rape narratives in our collective consciousness. Weaving between genres and throughout history, Hood consults Artemesia Gentileschi and other foremothers in revenge and witness, documents a month of walking the exact route that she took to escape an assailant, tangles with the specter of Dick Wolf and
Law & Order, reflects on her own coping mechanisms and childhood in Virginia, probes the specific silence around trans women’s experience of rape, and interrogates what it means to enter a post-#MeToo era of backlash in 2022.

Jamie Hood is a critic, memoirist, and poet, and the author of how to be a good girl (Grieveland 2020). Her work has appeared or is forthcoming in The Baffler, The Nation, Los Angeles Review of Books, The New Inquiry, Observer, The Drift, SSENSE, Bookforum, Vogue, and elsewhere. She lives in Brooklyn.

POETS SQUARE de Courtney Gustafson

Beautifully written literary nonfiction about animals with a profound core like H Is for Hawk and Fox and I. Structured in smart, snappy personal essays that probe at the problems of personhood in the internet age, it will appeal to fans of Melissa Broder or Jia Tolentino, and its introspective, generous thinking on self and society evokes Wintering.

POETS SQUARE:
Essays on Cats & Community
by Courtney Gustafson
Crown, 2024
(via Frances Goldin Literary Agency)

When Courtney Gustafson moved into a new rental in the Poets Square neighborhood in Tuscon, Arizona, she would never have guessed that a colony of feral cats living in her driveway would change her life forever. Settling into a secure romantic relationship while it felt like the world around her was burning down, she couldn’t know how reluctantly, then profoundly, she would come to care about the health and safety of those thirty-some-odd neglected cats: Beebs, Lola, Sadboy, Goldie, Dr. Big Butt, Reverse Monkey, Rihanna, and so many more.
She had no idea about the grief and hardship of animal rescue, the staggering size of the problem. And she couldn’t have imagined how that struggle—towards an ethics of care, of individuals trying their best amidst spectacularly failing systems—would help pierce a personal darkness she’d wrestled with much of her life. She also didn’t expect that the TikTok and Instagram accounts she created about the cats would end up with a just shy of a combined million followers.
POETS SQUARE is a memoir-in-essays about becoming an accidental cat rescuer, going viral, creating community, and surviving capitalism. These essays tell the brutal and tender stories of cats Courtney has saved (or failed to save) as a lens to explore everything from poverty and mental health to morality and misogyny. We see how cat rescue—despite its often-enormous sadness—paradoxically helped in a struggle with depression, showing the way towards an interrelated community of cats and care. The book explores caretaking and kindness in the face of a broken system: what it means for an individual to refuse to throw their hands up, to insist on showing up regardless of insurmountable problems, to search for ways to be a good person in the face of crushing overwhelm.

Courtney Gustafson is the creator of @PoetsSquareCats on TikTok (918k) and Instagram (61k). Her cats and rescue work have been featured on The Dodo, Newsweek, Best Friends Animal Society Magazine, and elsewhere. Before she had thirty cats, she completed a masters degree and PhD coursework in rhetoric and composition at the University of Massachusetts Amherst, where her interests included community literacies and literacy within incarcerated populations. She taught first-year writing at UMass before leaving academia to work in nonprofit communications. Most recently she’s worked for a large regional food bank, managing social media strategy, storytelling, fundraising, and crisis communications. She has continued to teach creative writing and adult basic literacy as a volunteer in prisons and in refugee communities in Tucson, Arizona, and volunteers as a mentor to incarcerated writers with PEN America’s Prison and Justice Writing Program. Her poetry, fiction, and nonfiction have appeared in Lady Science, Word Riot, Up the Staircase Quarterly, Necessary Fiction, and elsewhere.

LANDSCAPES de Christine Lai

An entrancing and prismatic debut novel, set in a near future fraught with ecological collapse, LANDSCAPES brilliantly explores memory, empathy, preservation, and art as an instrument for recollection and renewal.

LANDSCAPES
by Christine Lai
Two Dollar Radio, September 2023
(via Frances Goldin Literary Agency)

In the English countryside—decimated by heat and drought—Penelope archives what remains of an estate’s once notable art collection. The crumbling country house has been her home for two decades and a refuge for those who have been displaced by disasters, but it is scheduled for demolition in a few months’ time. With this pressing deadline comes the impending return of Aidan’s brother, Julian, at whose hands Penelope suffered during a brief but violent relationship twenty-two years before. As Julian’s visit looms, Penelope finds herself unable to suppress the past, and she clings to art as a means of understanding, of survival, and of reckoning.

Recalling the works of Rachel Cusk and Kazuo Ishiguro, LANDSCAPES is an elegiac and spellbinding blend of narrative, essay, and diary that reinvents the country house novel for our age of catastrophe, and announces the arrival of an extraordinarily gifted new writer.

Christine Lai holds a PhD in English Literature from University College London and an MPhil from the University of Cambridge. She lives in Vancouver, Canada.

This is an extraordinary work.” —Kate Zambreno, author of Drifts and The Light Room

A transcendent, achingly beautiful debut.” —Omar El Akkad, Giller Prize-winning author of What Strange Paradise and American War