By Michael James Rizza
An city, brainy mystery that retains us turning pages through a narrator either seductive and weird, and a plot that ever shifts again on itself—this is an international of philosophy and violence, voyeurism and doubt, guilt and intrigue
"Cartilage and Skin has all of it: a fast moving narrative, cool language, downtrodden characters, and addictive intrigue. Rizza writes with darkish high-energy and philosophical aptitude approximately his anxious anti-hero on a self-destructive quest. the tale shifts with each web page, by no means wasting momentum, regularly striking us. attention-grabbing, ferocious reading." — Deb Olin Unferth, in awarding the Starcherone leading edge Fiction Prize
Michael James Rizza used to be born in Elizabeth, New Jersey, on January 6, 1972. He has been instructing writing and literature for the previous twelve years. He has an MA in artistic writing from Temple college in Philadelphia and a PhD in American literature from the collage of South Carolina. He has released educational articles on Don DeLillo, Milan Kundera, Harold Frederic, and Adrienne wealthy in peer-reviewed journals, akin to Arizona Quarterly and Critique: reviews in modern Fiction. His fiction has lately seemed in Switchback (2012), Atticus Books on-line (2011), and Curbside Splendor (forthcoming). He has received numerous awards for his writing, together with a fellowship from the recent Jersey Council at the Arts in 2003. the 1st bankruptcy of Cartilage and Skin was once played at Playwrights Theatre in Madison, New Jersey. His present tasks are a booklet concerning the theories of Fredric Jameson, Jean Baudrillard, and Michel Foucault, and a singular tentatively titled Domestic Men's Fiction. He lives in New Jersey along with his spouse Robin and their son, Wilder.
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Additional info for Cartilage and Skin
Alter the ingredients to a beadle and a workhouse – the scenes may be the same, but the whole flavour of vice will be lost, and the boy will turn out a perfect pattern. 28 As already noted, one of the most concerted attacks in this phase of the Newgate controversy came from Thackeray, whose Catherine: A Story was written specifically – according to the advertisement that accompanied volume publication – ‘to counteract the injurious influence of some popular fictions of that day, which made heroes of highwaymen and burglars, and created a false sympathy for the vicious and criminal’.
35 These ranged from notorious murder trials such as 32 The Newgate novel and sensation fiction, 1830–1868 the Road Murder (1860), in which the sixteen-year-old Constance Kent was acquitted of the bloody murder of her four-year-old brother, and the 1857 trial of Madeline Smith, who was accused of killing her lover by putting arsenic in his cocoa, to the Yelverton bigamy-divorce trial which drew attention to marital irregularities and the chaotic state of the marriage laws. The changing state of upper and middle-class marriage was also highlighted by the reporting of the proceedings of the new Divorce Court, created after the passing of the Matrimonial Causes Act of 1857.
The essential characteristic of this age and land is publicity. There exists a press which bares at once to the universal eye every example of guilt that comes before a legal tribunal. In these very newspapers which would forbid a romance writer to depict crime with all that he can suggest to demonstrate its causes, portray its hideousness, insist on its inevitable doom . . the meanest secrets of the prison-house are explored. 34 In the 1860s the sensation novel and the sensation debate were also closely intertwined with developments in the newspaper press.