Gail Scott – författare

The Changing Role of Health Care Managers A valuable guide that helps health care managers redefine theirresponsibilities so they can function more effectively in thisdramatically evolving industry. The authors identify and describethe ten key role shiftsthat are part of making the transition to a new, more dynamicstyle of leadership. Filled with questionnaires and step-by-stepguidelines, this hands-on tool offers sound insights andnuts-and-bolts advice.

Casting light and shadow, looking backwards and forwards, My Paris is a hypnotizing tale of desire and nostalgia, magically submerging the reader in the endless—and not always seamless—sensuality of the City of Light.In My Paris, a Canadian woman keeps an extraordinary journal of her time in a Parisian studio. Not a typical tourist, she prefers indoor spaces, seeing Paris go by on TV or watching from her window the ever-changing displays of men's designer clothing across the boulevard. Or she roams the streets, caught between nostalgia and a competing sense of the present day, between Paris's rich cultural traditions and the realities of Western imperialism. Disillusioned by her inability to reconcile these contradictions and by her own part in perpetuating them, she assembles in her journal pieces of the present, past, of art, philosophy, of herself, and of the world outside her.

In Furniture Music, Montreal legend Gail Scott chronicles her years in Lower Manhattan during the Obama era, in a community of poets at the junction between formally radical and political art. Immersing herself in a New York topography that includes St. Mark’s Poetry Project and the Bowery Poetry Club, Scott writes from a ‘Northern’ awareness that is both immediate and inquisitive, from Obama’s election to Occupy Wall Street and Hurricane Sandy. Here, readers are situated in conversations around citizenship, gender performance, class, race, feminism, and what it means to write now. And the author is less a single voice than an assembler, ventriloquizing not only present voices but also a host of earlier writers and philosophers, notably, Gertrude Stein, Viktor Shklovsky, Walter Benjamin. The result is a staggering work of insight and hope during a critical time in American politics and art.

Året är 1980 och i ett badkar på ett sunkigt pensionat försöker en kvinna föreställa sig ett nytt liv. Ett liv efter ett kraschat förhållande med en man. Ett liv efter 70-­talets turbulenta år inom den revolutionära quebecska vänstern. Ett liv som en fri kvinna. Ett liv som kan anstå en hjältinna i den roman hon ska skriva – så snart hon lyckats stiga upp ur badkaret... Hjältinnan är en tongivande experimentell feministisk roman som utspelar sig i 1970-talets sjudande Montréal, i en vibrerande och otämjd värld som är både befriande och begränsande, och där allt absorberas genom porerna på en kvinnokropp. Romanen granskar på ett hänsynslöst och självrannsakande sätt ett komplext kvinnligt begär, såväl som identitet och kreativitet, genom hjält­innans försök att förena sitt behov av både skapande uttryck och kärlek med förväntningarna från samhället, männen och kvinnorna omkring henne. Hjältinnan är en jordnära och rå, men samtidigt drömlik och kalejdoskopisk skildring av en engelsk­talande kvinnas plats i Québecs franskspråkiga politiska och konstnärliga avantgarden. Romanen publicerades första gången 1987, men har kvar mycket av sin revolutionerande kraft. Inte bara på grund av sin stilistiska excentricitet, utan också eftersom så många av de frågor den väcker fortfarande är högst aktuella. Gail Scott är författare, essäist och översättare bosatt i Montréal, Kanada. Hon är mest känd för sina experimentella romaner, som brukar kopplas till New Narrative. Scott har även varit verksam som feministisk teoretiker och har skrivit om förhållandet mellan språk, kroppar och feministisk politik. Efter Hjältinnan (1987) har hon publicerat ytterligare tre romaner: Main Brides (1993), My Paris (1999) och The Obituary (2010). Hennes senaste böcker är essäsamlingen Permanent Revolution (2021) och Furniture Music (2023).

A welfare cheque floats down the river, a cowboy spreads the Word of the Lord and crotches tick like clocks: the world of Spare Parts is unpredictable, evocative and vividly distorted. Its initial appearance, in 1981, caused a stir; at a time when linear narrative was the m.o. of feminist writing, Gail Scott had the nerve to fracture and dislocate her stories and her language. Spare Parts is as vital as it was twenty years ago. Scott's densely textured tales about the world of growing up female in a small town, where violence lurks just beneath the skin, recreate the uncertainty of life. Their incantatory language and tough imagery are as relevant and crucial now as they were then. This edition adds two new pieces, including 'Bottoms Up', an essay on narrative which first appeared on the 'Narrativity' website Scott co-edits.

What is the best way to tell a story? In this anthology, the first-ever collection of essays by innovative, cutting-edge writers on the theme of narration, forty of the continent's top experimental writers describe their engagement with language, storytelling and the world. The anthology includes renowned writers like Kathy Acker, Dennis Cooper, Nicole Brossard, Daphne Marlatt, Lydia Davis and Kevin Killian, writers who have spent years pondering the meaning of storytelling and how storytelling functions in our culture, as well as presenting a new generation of brilliant thinkers and writers, like Christian Bok, Corey Frost, Derek McCormack and Lisa Robertson. Contemporizing the friendly anecdotal style of Montaigne and written by daring writers of different ages, of different origins, from many different regions of the continent, from Mexico to Montreal, these essays run the gamut of mirth, prose poetry, tall tales and playful explorations of reader/writer dynamics.They discuss aesthetics founded on new explorations in the field of narrative, the mystery that is the body, questions of how representation may be torqued to deal with gender and sexuality, the experience of marginalized people, the negotiation between different orders of time, the 'performance' of outlaw subject matter. Brave, energetic and fresh, Biting the Error tells a whole new story about narrative. Biting the Error is edited by Mary Burger, Robert Gluck, Camille Roy and Gail Scott, the co-founders of the Narrativity Website Magazine, based at the Poetry Center, San Francisco State University.

In a bathtub in a rooming house in Montreal in 1980, a woman tries to imagine a new life for herself: a life after a passionate affair with a man while falling for a woman, a life that makes sense after her deep involvement in far left politics during the turbulent seventies of Quebec, a life whose form she knows can only be grasped as she speaks it. A new, revised edition of a seminal work of edgy, experimental feminism. With a foreword by Eileen Myles.

In My Paris, a Canadian woman keeps an extraordinary journal of her time in a Parisian studio. Not a typical tourist, she prefers indoor spaces, seeing Paris go by on TV or watching from her window the ever-changing displays of men's designer clothing across the boulevard. Or she roams the streets, caught between nostalgia and a competing sense of the present day, between Paris's rich cultural traditions and the realities of Western imperialism. Disillusioned by her inability to reconcile these contradictions and by her own part in perpetuating them, she assembles in her journal pieces of the present, past, of art, philosophy, of herself, and of the world outside her.