Book Review of McAleer, Tony. (2019). The Cure for Hate: A Former White Supremacist’s Journey from Violent Extremism to Radical Compassion. Vancouver: Arsenal Pulp Press.

Book Review of McAleer, Tony. (2019). The Cure for Hate: A Former White Supremacist’s Journey from Violent Extremism to Radical Compassion. Vancouver: Arsenal Pulp Press.

The Cure for Hate," is a memoir that dives into the candid life of reformed white supremacists.McAleer's writing showcases the varied emotions he experienced, such as guilt, shame, yearning to be accepted, control, power, and finally, forgiveness and love.McAleer explains throughout the book how he has searched for love and acceptance his whole life but never received it growing up and searched in all the wrong places.He describes in detail how your childhood traumas

Queer performance has historically illuminated an imbalance of care for minoritarian concerns and fostered community connections for collective survival and resistance.1 1. José Esteban Muñoz, Disidentifications: Queers of color and the performance of politics (Minnesota: University of Minnesota Press, 1999). This article interweaves theorisations by Leah Lakshmi Piepzna-Samarasinha and collaborators in the book Care Work: Dreaming Disability Justice 2 2. Leah Lakshmi Piepzna-Samarasinha, Care Work: Dreaming Disability Justice (Vancouver: Arsenal Pulp Press, 2018). and draws upon interviews with key queer cultural producers, practitioners, scholars, and artists currently working in the UK to identify and theorise contemporary ethics and practices of care in their work. It reveals how queer performance practice attempts to address issues of ethnicity, race, class, disability, gender, and gender identity, tokenism and racial representation, access, class, (dis)ability, and trans-inclusivity in generative ways.3 3. Adam Carver, Queering the Sector: Meaningful Change, Meaningful Care, Conference programme, SHOUT! Festival of Queer Arts and Culture, Birmingham Hippodrome, November 8, 2019. Considering the urgent need for material reconfigurations and diversification of the UK arts sector – both in response to and preceding the global COVID-19 pandemic – I argue that an ethics of care and orientation toward action can address ongoing issues around who and what is ‘made to matter’ in queer arts production. Contemporary queer performance praxis in the UK reaches further toward the margins to find new solutions to embed radical care in production practices. As philosopher Rosi Braidotti suggests, such work ‘is enhanced by the rejection of self-centred individualism … [producing] a new way of combining self-interests with the well-being of an enlarged community’.4 4. Rosi Braidotti, The Posthuman (Cambridge: Polity, 2013), 48. Through foregrounding collectivity, community, care, and social justice the queer performance sector is well positioned to be at the forefront of wider cultural production trends, creating, and amplifying change throughout the sector and beyond.

Written by Larissa Lai, a Chinese-Canadian writer who has always alchemized her production with Chinese mythology, The Tiger Flu (Vancouver: Arsenal Pulp Press, 2018) is a polyphonic novel because of the plurality of interpretative acts it evokes, and because of its interweaving of different literary frames and genres. In the first part of this essay, I analyse how Lai exploits this complex intertwining of genres to address a sense of diasporic belonging. In the second part, I explore how this approach leads to moving beyond normative and totalizing definitions. Lai sets up a multifaceted feminine space where issues about the rethinking of the category of woman, sisterhood and a broader conception of the community can be raised. I argue that Lai’s representation of non-normative female bodies becomes functional in revealing how abject bodies can challenge the hegemonic meaning of gender and identity. In a critical reading that cannot be divorced from a (trans-)Canadian context, I conclude by exploring how Lai guides her readers on an intimate journey across increasingly fluid borders and an unsolved (and unsolvable) vision of the future.

The maintenance paradigm has evolved over the last few years and companies that want to remain competitive in the market need to provide condition-based maintenance (CBM). The diagnosis and prognosis of the health status of equipment, predictive maintenance (PdM), are fundamental strategies to perform informed maintenance, increasing the company’s profit. This article aims to present a diagnosis and prognosis methodology using a hidden Markov model (HMM) classifier to recognise the equipment status in real time and a deep neural network (DNN), specifically a gated recurrent unit (GRU), to determine this same status in a future of one week. The data collected by the sensors go through several phases, starting by cleaning them. After that, temporal windows are created in order to generate statistical features of the time domain to better understand the equipment’s behaviour. These features go through a normalisation to produce inputs for a feature extraction process, via a principal component analysis (PCA). After the dimensional reduction and obtaining new features with more information, a clustering is performed by the K-means algorithm, in order to group similar data. These clusters enter the HMM classifier as observable states. After training using the Baum–Welch algorithm, the Viterbi algorithm is used to find the best path of hidden states that represent the diagnosis of the equipment, containing three states: state 1—“State of Good Operation”; state 2—“Warning State”; state 3—“Failure State”. Once the equipment diagnosis is complete, the GRU model is used to predict the future, both of the observable states as well as the hidden states coming out from the HMM. Thus, through this network, it is possible to directly obtain the health states 7 days ahead, without the necessity to run the whole methodology from scratch.

ABSTRACT Predictive maintenance strategies are becoming increasingly more important with the increased needs for automation and digitalization within pulp and paper manufacturing sector.Hence, this study contributes to examine the most efficient pre-processing approaches for predicting sensory data trends based on Gated Recurrent Unit (GRU) neural networks. To validate the model, the data from two paper pulp presses with several pre-processing methods are utilized for predicting the units’ conditions. The results of validation criteria show that pre-processing data using a LOWESS in combination with the Elimination of discrepant data filter achieves more stable results, the prediction error decreases, and the predicted values are easier to interpret. The model can anticipate future values with MAPE, RMSE and MAE of 1.2, 0.27 and 0.30 respectively. The errors are below the significance level. Moreover, it is identified that the best hyperparameters found for each paper pulp press must be different.


 
 
 KIMIKO DOES CANCER is a graphic memoir written by Kimiko Tobimatsu and illustrated by Keet Geniza. The book tells the story of Kimiko’s experience with breast cancer as a young, queer, mixed-race woman. Set in Toronto, Canada, Kimiko Does Cancer seeks to upend the traditional cancer narrative, confronting issues such as dating while in induced menopause, navigating work and treatment, and talking to well- meaning friends, health care professionals, and other cancer survivors.
 In the interview below, Lisa Folkmarson Käll talks with Kimiko and Keet about their three-year long collaboration on the project, their hopes for it, the importance of representation and the difficulties of dealing with vulnerability.
 Page references in the text are to Kimiko Tobimatsu and Keet Geniza’s Kimiko Does Cancer: A Graphic Memoir (Vancouver: Arsenal Pulp Press, 2020).
 
 

Book Review of Wong, Lindsey. (2018). The Woo-Woo: How I Survived Ice Hockey, Drug Raids, Demons, and my Crazy Chinese Family. Vancouver: Arsenal Pulp Press.

Book Review of Wong, Lindsey. (2018). The Woo-Woo: How I Survived Ice Hockey, Drug Raids, Demons, and my Crazy Chinese Family. Vancouver: Arsenal Pulp Press.

Book Review of Wong, Lindsey. (2018). The Woo-Woo: How I Survived Ice Hockey, Drug Raids, Demons, and my Crazy Chinese Family. Vancouver: Arsenal Pulp Press.

The Woo-Woo: How I Survived Ice Hockey, Drug Raids, Demons, and My Crazy Chinese Family", is a memoir that describes her family's mental health issues utilizing a dark and comedic tone from their unique perspective of a Chinese immigrant family living in the crime stricken Vancouver suburbs.The Wong family suffers from generational mental health issues that, combined with their prominent superstitions, culminate into a family culture that depicts any physiological ailments, including basic emotions such as empathy or remorse as possessive ghosts, which they called the "Woo-Woo" (p.9).In her book, Wong highlights the harrowing effects of mental health issues on her family with topics ranging from the changing family dynamics through maturation, family and community violence, absence and distrust in the western medical field, and coping mechanisms.The book follows Wong's perspective chronologically throughout her life from early childhood up until graduate school, where she manages to complete her MFA in non-fiction at Columbia University shortly after being diagnosed with severe migraine-related vestibulopathy.Wong's personal growth is to be noted as her and her family dynamics continuously grow and evolve even while other aspects seem to remain the same.Throughout the early stages of the

In Lindsay Wong's memoir, "The Woo Woo", the author tells a harrowing reality of her formative years growing up as a daughter of Chinese immigrants, haunted by generations of untreated mental illness.In particular, Wong shares how her family dynamic influenced how she behaved in her intimate relationships, friendships, and most importantly, how she saw herself.The reader is introduced to the key influences in Wong's life; these being her Father, Mother, Aunt, and Grandmother.Her intimate family dynamic orbited around her mother's mental health resulting in sibling rifts, a lack of empathy and inability to communicate in anything other than callous comments and swears.Wong explores the challenges of growing up in traditional Chinese culture, with a focus on her family's experience with the Woo-Woo, her family's name for foul moods, psychotic breaks, and chaotic episodes.The reader later learns that the Woo-Woo is merely the outcome of untreated mental illness in Wong's family, consequently never treated due to the shame of even being inflicted by the Woo-Woo.Furthermore, she provides readers an honest perspective of her experience living with mental illness and its radiating effect on every aspect of her life.Wong grows to realizes that she is more than a reflection of the adults around her.By analyzing her familial ties, friendships, and culture, she explores how the Woo-Woo defined her sense of self, and acceptance of reality.

The Woo-Woo" is a memoir written about her childhood and growing up with a Chinese immigrant family in Vancouver.In Wong's memoir, the term 'Woo-Woo' was used to characterize the spirits or ghosts that possessed the living, and caused them to act different than what was deemed to be normal.There was always a mention of the 'Woo-Woo', the term the Wong family used to explain why someone was acting abnormally.Wong highlighted some key themes within her book, but the few that stuck out the most were adolescence, parenting, and mental illness.

s book, "The Woo-Woo," is an interesting narrative of personal events that occurred throughout her lifetime.She takes readers through a stream of emotions, making sure to mix in a sense of humor, sadness, and pity throughout its context.Each account of her life is brought forward with so much detail, that envisioning what is happening in your mind is almost effortless.In doing so, Wong allows her audience to absorb as many aspects of life as possible.This is her way of opening up minds to the boundless reality of what makes a family and what it means for family members to endure with one another.Wong does well to incorporate certain

Book Review| June 01 2018 Conflict Is Not Abuse: Overstating Harm, Community Responsibility, and the Duty of Repair Conflict Is Not Abuse: Overstating Harm, Community Responsibility, and the Duty of Repair. By Sarah Schulman. Vancouver, BC: Arsenal Pulp Press, 2016; pp. 296, $19.95 paper. Kendall Gerdes Kendall Gerdes Texas Tech University, USA Search for other works by this author on: This Site Google QED: A Journal in GLBTQ Worldmaking (2018) 5 (2): 122–124. https://doi.org/10.14321/qed.5.2.0122 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Kendall Gerdes; Conflict Is Not Abuse: Overstating Harm, Community Responsibility, and the Duty of Repair. QED: A Journal in GLBTQ Worldmaking 1 June 2018; 5 (2): 122–124. doi: https://doi.org/10.14321/qed.5.2.0122 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveMichigan State University PressQED: A Journal in GLBTQ Worldmaking Search Advanced Search The text of this article is only available as a PDF. © 2018 Michigan State University2018 Article PDF first page preview Close Modal Issue Section: BOOK REVIEW You do not currently have access to this content.

she seeds the narrative with deep and abiding interest. Manhattan Beach is a novel to savor. Rita D. Jacobs New York Julie Maroh. Body Music. Trans. David Homel. Vancouver. Arsenal Pulp Press. 2017. 300 pages. With an orchestra of players on the stage of the streets of Montreal, Julie Maroh conducts a symphony of the human condition in Body Music. Through twenty-one graphic-narrative vignettes, Maroh guides us through a stunning array of emotions as she chronicles the lives and relationships of people across the city. With few exceptions, each vignette is unique in the players it presents , giving a specific movement of discrete instruments, like a separate movement for each flavor of love. As such, each treats its subject matter the way we experience love for the first time. Some notes are strange, some sweet, comforting, others dark, discordant , and also propulsive. Maroh runs us through all different kinds of love: puppy love, lust for sex, the feeling of losing your most cherished companion to debilitating disease, to missed love and ships passing in the night. No form is off the score. So too are the players diverse. Maroh’s artwork is also harmonious. Beautiful, fluid, and impressionistic at times, the art brings the song of the work to life, depicting all the glory of love. At times it changes slightly to fit the differing themes of the vignette. In one vignette, her art takes on a darker, more abstract appearance in a story dealing with love as interpreted through First Nations’ folk culture . In another, the art bears a more realistic , harder edge during one of the silent sequences, telling the story fully through the art. The art also represents a hidden love, Montreal itself. D. Emerson Eddy Hamilton, Ontario Roland Buti. Year of the Drought. Trans. Charlotte Mandell. London. Old Street. 2017. 160 pages. Thirteen-year-old Auguste (Gus) Sutter vividly remembers the summer of 1976, not just for the preternaturally harsh drought but also for the incidents leading up to the disintegration of his family. Gus, his mother and father, his older sister, Lea, and a mentally challenged worker named Rudy live on the family’s farm on the Swiss plateau. Buti’s take on a coming-of-age story is captivating because of the impending sense of doom and ruin that he weaves throughout Gus’s narrative. All of nature around them foreshadows the sad fate of this family: the crops are burning in the sun, Nota Bene WORLDLIT.ORG 73 Lawrence Joseph So Where Are We? Farrar, Straus and Giroux A New York–based writer and law professor of Syrian and Lebanese descent, Lawrence Joseph writes the noise and smoke and digital crowds of a world perplexed and then pierces that world with beams of lucid affect. Grappling with events of great scope, the poems in So Where Are We? are deeply affected by the events since 9/11, which they explore with an unflinching gaze and critical intelligence. Michael Köhlmeier Yiza Trans. Ruth Martin Haus Publishing Originally written in German by an Austrian author, Yiza is a story about a young girl of the same name who is abandoned in Germany, where she meets two young boys in a shelter for migrant children. One day, they decide to run away. Köhlmeier writes in a simple language and structure that suits the subjects and contrasts well with the gravity of the reality around them. ...

the story progresses. Venice was commissioned as a travel book in a series from Louis Vuitton, meant to showcase the beauty of this famous city. Taniguchi strings together a base narrative of a man who finds a box of painted postcards in a suitcase left behind by his dead mother. Being a character in a Taniguchi comic, he, of course, goes on a walking tour, seeking out some of the locations and mysteries of his mother’s previous life. Venice has very little text but manages to tell an engrossing story. Taniguchi’s art swings from grand, full-page landscapes to a simple white page with a bowl of soup (possibly my favorite). I’ve never been to Venice, but after reading this I sure want to go. And that, I suppose, is exactly the point! These are two beautiful works from Taniguchi that I am happy to add to my library. And I am keeping spots open for the rest of his comics that will hopefully become available. Just keep walking. Zack Davisson Seattle, Washington Jennifer Egan. Manhattan Beach. New York. Scribner. 2017. 438 pages. Readers have come to expect novels that experiment with form and structure from Jennifer Egan, but Manhattan Beach proves that expectations can be unmet in a spectacularly positive way. We quickly fall in love with Anna Kerrigan and her story in this straightforward and exquisitely rendered historical novel. Set mostly in Brooklyn against the backdrop of the Great Depression and World War II, the novel begins with precocious eleven-year-old Anna and her father, Eddie, in a brief encounter with Dexter Styles and his daughter, Tabitha, on Manhattan Beach near Coney Island. Egan quickly moves to Anna in her late teens working in the Brooklyn Navy Yard. But the first scenes are crucial to where the characters are headed. It soon becomes clear that nothing is wasted in this novel, and the reader had better pay close attention . There is little that we can assume without Egan’s surprising us. Anna, who is something of a loner, beats the odds and the prejudices of her co-workers to become the only woman diver doing repairs on ships. Breaking with the expected role of a woman in her era, she gains respect with the kind of grit one expects from a heroine. But there is a backstory, of course, and Egan trenchantly explores the confining circumstances of Anna’s family life in an apartment that is “small, crowded, close” and where “femininity breathed from every surface down to the cheap wainscoting.” Throughout , Egan’s masterful descriptions are matched by her ability to delineate character through dialogue, even down to the inarticulate sounds uttered by Anna’s birth-damaged sister, Liddy. As the novel reveals the lives of the overlapping characters, our focus shifts from independent Anna, to Anna among her co-workers, to Anna as a romantic figure. This last Anna is indelibly marked by her complex relationship with Dexter, a relationship underscored by a brilliantly sensual sex scene. Moreover, Egan captures the particular flavor of wartime New York and limns even the secondary characters with a finely rounded sense of where and how they fit into the world of the novel. Overarching all, the idea and metaphor of the sea infuses the novel, from the Melville epigraph (“Yes, as every one knows, meditation and water are wedded for ever”), to Anna’s diving career, to Eddie’s time at sea, to the life-affirming remedy of the ocean. Egan has done her research well, sometimes too well, as when she delivers details about measurements done with micrometers . But she also creates the beating heart of the time period with its struggling characters , moral complexity, class distinctions, and sense of danger mixed with patriotism. Throw in poverty, longing, and loyalty, and World Literature in Review 72 WLT JANUARY–FEBRUARY 2018 she seeds the narrative with deep and abiding interest. Manhattan Beach is a novel to savor. Rita D. Jacobs New York Julie Maroh. Body Music. Trans. David Homel. Vancouver. Arsenal Pulp Press. 2017. 300 pages. With an orchestra of players on the stage of the streets of Montreal, Julie Maroh conducts a symphony of...

A Timely Voice Mat Wenzel (bio) Conflict Is Not Abuse: Overstating Harm, Community Responsibility, and the Duty of Repair Sarah Schulman Arsenal Pulp Press www.arsenalpulp.com 301 Pages; Print, $19.95 Sarah Schulman’s Conflict Is Not Abuse has been praised for its timeliness by many, and it was first published in 2016. It was written before Pulse, before the 2016 election, before Charlottesville, before #metoo, before Parkland. That it remains timely isn’t just commentary on the consistency of abuse, violence, harassment, and conflict in this country, but also to the validity of Schulman’s argument: Conflict is not the same as abuse, that “at many levels of human interaction there is the opportunity to conflate discomfort with threat…to escalate rather than resolve.” Her argument calls readers to engage with conflict through face-to-face communication, personal responsibility (self critique), and with community accountability—to move away from familial “us” vs “them” interaction and move toward friendship. If her thesis seems naïve and/or unscholarly, it is intentional. Schulman certainly finds her “undisciplined” approach an asset. Naïveté, too, is an asset under Jack Halberstam’s theory of the “subversive intellectual” in his book Queer Art of Failure (2011). The subversive intellectual, according to Halberstam, privileges conversation over mastery and embraces naïveté. For them, “The naive or the ignorant may in fact lead to a different set of knowledge practices.” Setting aside the systems of knowledge and power that have never worked may be seen as naive, but they offer new hope. This Queer hope is also in conversation with José Esteban Muñoz’s Queer Utopia—a “forward dawning,” not a dream but a way of engaging in futurity. “Utopia,” Muñoz explains in Cruising Utopia (2009), “is not prescriptive; it renders potential blueprints of a world not quite here, a horizon of possibility, not a fixed schema.” Schulman brings this forth and calls for a community of friends that are able both to discuss, in person, difficult and complex conflicts, and also to reshape their own thinking about themselves. “Wouldn’t it be amazing,” she writes, “if we could turn to our friends and say, I felt anxious and so I exaggerated, and instead of them using it as a reason to ignore us, disparage us, or punish us, whenever we say I feel anxious and so I exaggerated, our friends would put their arms around us, hug us and kiss us and thank us and praise us for telling the truth?” This model for friendship isn’t just on a one-on-one basis but also for change in larger communities, including whole nations. Her focus is on how to prevent real abuse from happening, how to prevent cruelty, revenge, and, ultimately, genocide. Schulman’s Queer subversion of expectations, genre, and “Theory” in the delivery of her argument make this book a vital read or reread. Schulman asserts her explicitly Queer perspective early in the first chapter: “I use queer examples, I cite queer authors, I am rooted in queer points of view, I address and investigate concerns and trends in queer discourse.” She cites Audre Lorde as a forerunner in her own Queer subversion, and Lorde’s “biomythographical” book Zami: A New Spelling of My Name (1982) as a way of considering her own non-fiction book that weaves together “observations, feelings, contexts, histories, visions, memories, and dreams.” Her Queerly “undisciplined” writing creates a new kind of book—one not meant to be fully agreed with or rejected, but one that creates space for a conversation, an opportunity for de-escalation [End Page 11] instead of a continuation of the current culture of overreaction—a kind of theatrical play the reader watches as it “reveals human nuance.” These nuances make the book an essential read. Schulman’s opening scene enacts her argument on the micro-level of friendship and flirtation. She gives a personal example of being at a table in a semi-professional setting in which a woman she finds attractive is using sexualized language. The woman uses the word G-spot. For some it could be a problem, but...

Book Review| August 01 2017 The Poetics of Leaving a Place Kate Carroll de Gutes. Objects in the Mirror Are Closer Than They Appear. PORT TOWNSEND, WA: OVENBIRD BOOKS, 2015. 190 PAGES, PAPER, $14.95.Leah Lakshmi Piepzna-Samarasinha. Dirty River: A Queer Femme of Color Dreaming Her Way Home. VANCOUVER: ARSENAL PULP PRESS, 2015. 240 PAGES, PAPER, $18.95. Kathleen Livingston Kathleen Livingston Kathleen Livingston teaches writing at Michigan State University. Her work is forthcoming in Slag Glass City and has been published in Fourth Genre, the Los Angeles Review of Books, Third Coast, Peitho, Harlot, A Guide to Composition Pedagogies (2nd ed.), Crazy Wisdom Community Journal, Visible: A Femmethology, and in her zines. Search for other works by this author on: This Site Google Fourth Genre: Explorations in Nonfiction (2017) 19 (2): 177–184. https://doi.org/10.14321/fourthgenre.19.2.0177 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Kathleen Livingston; The Poetics of Leaving a Place. Fourth Genre: Explorations in Nonfiction 1 August 2017; 19 (2): 177–184. doi: https://doi.org/10.14321/fourthgenre.19.2.0177 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveMichigan State University PressFourth Genre: Explorations in Nonfiction Search Advanced Search The text of this article is only available as a PDF. © 2017 Michigan State University Press2017 Article PDF first page preview Close Modal You do not currently have access to this content.