By Joshua Cohen
"Joshua Cohen has created a visionary novel that's terrifying and heartbreaking and humbling in its luminous brilliance. for my part, it firmly areas the writer at the comparable point as Kafka."—Michael Disend, writer of Stomping the Goyim
"The concept that there are a number of heavens, correct ones and incorrect ones, white ones and black ones, is driven to its fantastical limits by way of Brooklyn author Joshua Cohen in his dream-world novel of the afterlife. . . . Heaven is a demanding yet profitable learn on thematic and formal levels."—The Brooklyn Rail
"A breathless flight of managed delirium, an exquisitely blasphemous travel of an afterlife the place earth's dominion, in all its terror and glory, trumps the stunning and overturns the realm to return. . . . It's a courageous publication that are supposed to earn its younger writer the reader's profound and enduring admiration."—Steve Stern, writer of The Frozen Rabbi
When a ten-year-old Jewish boy is exploded on a Jerusalem road via a ten-year-old Palestinian boy, he wakes up in a heaven nobody in his culture ready him for, a heaven of others. Joshua Cohen's novel stands on the crossroads of a conflicted urban and wordplay that either celebrates and dismantles culture.
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The continued cultural function of rhetorical practice as a site where gender identity and the politics of cultural power were negotiated takes on yet another guise in the form of canonical debates about whether to recognize the rhetorical careers of prominent women speakers in emerging histories of American public address. The instability of cultural regard for women’s participation in public rhetorical space that is so clearly outlined in postbellum parlor-rhetoric manuals, conduct literature, and biographical and autobiographical constructions of prominent women speakers undermines the canonical claims of nineteenthcentury women speakers to inclusion in formative histories of American public speaking.
On the other hand, when women addressed only members of their own sex, there was no disapproval of the activity. It was socially acceptable for ladies to speak at sewing circles. (24) O’Connor profiles antebellum prejudice against women speakers in greater detail by quoting from widely publicized documents of rebuke of abolitionist speakers Angelina Grimké and Sarah Grimké whose public lectures against slavery to mixed audiences of men and women certainly did not keep the sisters in the sewing circle.
These objections and critiques of the women’s rights movement, which was perceived as encouraging women to forsake their parlors for the public lecture hall, were standard fare in various prominent cultural dialogues in the decades preceding the Civil War. The most frequently asserted arguments were that women were intellectually incapable of the analytical skills on which the logic and development of argumentation and oratory depended and that women were delicate (or worse, beguiling) and lacked the emotional and moral forces to convince others of their ideas.