Books about Hysterics from Amazon.com

The Hysteric's Revenge considers fin-de-siècle French women writers in the context of prevailing cultural anxieties about female intellect During the years that overlap between the fin-de-siècle and the Belle Époque, women began to write in record numbers, due to a number of factors including educational reforms and demographic shifts. This trend terrified many male literary critics, who described it as the “crisis of women's writing” in a series of efforts to circumscribe the perceived problem. Such critics frequently linked women's writing to sexual depravity..
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A collection of 24 stories where the author experiments with stories, chronicles, fables, parables, essays, and journalistic notes. The prose is humoristic, bitter and fearless Determined not to be a simple witness but an accomplice, the narrator breathes in the night at bars, cabarets, dives, pick-up joints; children’s play areas, wedding receptions, and lover’s dimly lit piano bars. We could call him a romantic because he is able to fall in love and find mystery and beauty where ordinary folk only see lust, cash and risk. Each story makes you laugh, with the certainty that we are laughing at someone we know; the biggest surprise is that sometimes it is ourselves. Description in Spanish: Sin credencial de prensa ni amigos en la puerta, en el más delicioso anonimato, el narrador de estas crónicas visita bares, cabaretes, tugurios, antros de mala muerte, table dances, burlesques, clubes sociales, puticlubes, calles de pirujas, zonas rojas, zonas de prostitutos travestidos… pero también zonas de juegos infantiles, fiestas de bodas, bares con pianista melancólico y enamorados de manita sudada. Así pues, se da a llenar la noche de preguntas y a buscar los excesos capaces de sorprenderlo, disgustarlo, amenazarlo, pero no de dejarlo inerme. No quiere ser testigo, sino cómplice. Y es un romántico. Como los poetas malditos muy a tiempo lo supieron, el romanticismo radica en la capacidad de hallar mística, misterio y hermosura justo donde los ordinarios (quienes temen contaminarse, y por eso se hacen a un lado) sólo supieron ver lascivia, cash y riesgo. El romántico es romántico porque se enamora de quien no debe, donde no debe y, si es posible! , cuando no puede..
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First edition, first printing Limited edition of 1000 copies, numbered with an ink stamp on the colophon page. Hardcover Bright yellow cloth-covered boards with a tipped-in black-and-white plate on the cover and a photographically-illustrated paper-covered back cover; with a clear acetate dust jacket. Photographs by Shoji Ueda. Text (in Japanese and English) by Gabriel Bauret. Includes a brief chronology (in Japanese and English). Designed by Toshio Shiratani (Nomade). Unpaginated (168 pp.), with 157 black-and-white plates beautifully printed on coated paper in Japan by Daishinsha. 10 1/4 x 9 1/8 inches. Comprising work produced throughout the span of Ueda's professional life, from the 1930s through the 1990s, this book features photographs that were originally published in the now-defunct Camera Mainichi magazine between 1974 and 1985. From the Shoji Ueda Museum of Photography: "Shoji Ueda (1913-2000) is regarded as one of the most outstanding Japanese photographers of his time. Although he only left his native Tottori Prefecture on a few occasions, Ueda discovered the photographic innovations of the Western avant-garde through specialist publications that he received from time to time, and he felt drawn toward technical and aesthetic experimentation. Following a barren period during the Second World War, Ueda returned to his work and produced some of his most representative [imagery], in which the dunes of Tottori became a stage on which he arranged human figures in his own particular way. The charm and ingenuity of these curious images has no parallel in the history of photography. His conception of this art form was closely linked to his sense of humour, to a highly special aesthetic approach, and to his enormous curiosity about the small things of everyday life.".
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