Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.

Paul Preciado's controversial 2019 lecture at the École de la Cause Freudienne annual conference, published in a definitive translation for the first time. In November 2019, Paul Preciado was invited to speak in front of 3,500 psychoanalysts at the École de la Cause Freudienne's annual conference in Paris. Standing in front of the profession for whom he is a "mentally ill person" suffering from "gender dysphoria," Preciado draws inspiration in his lecture from Kafka's "Report to an Academy," in which a monkey tells an assembly of scientists that human subjectivity is a cage comparable to one made of metal bars. Speaking from his own "mutant" cage, Preciado does not so much criticize the homophobia and transphobia of the founders of psychoanalysis as demonstrate the discipline's complicity with the ideology of sexual difference dating back to the colonial era--an ideology which is today rendered obsolete by technological advances allowing us to alter our bodies and procreate differently. Preciado calls for a radical transformation of psychological and psychoanalytic discourse and practices, arguing for a new epistemology capable of allowing for a multiplicity of living bodies without reducing the body to its sole heterosexual reproductive capability, and without legitimizing hetero-patriarchal and colonial violence. Causing a veritable outcry among the assembly, Preciado was heckled and booed and unable to finish. The lecture, filmed on smartphones, was published online, where fragments were transcribed, translated, and published with no regard for exactitude. With this volume, Can the Monster Speak? is published in a definitive translation for the first time.

A collection of stories told through the movies that revisits the lower Manhattan art world and the Atlantic haven of Provincetown in the 1980s. Masha Tupitsyn's Beauty Talk & Monsters is a debut collection of stories told through the movies. Equally influenced by Brian De Palma and Kathy Acker, Tupitsyn revisits the ruins of a childhood and youth nurtured on the fringe of the glittering lower Manhattan art world and the Atlantic haven of Provincetown in the 1980s. Moving fluidly through space, time, and a range of cinematic frameworks, Tupitsyn cuts through the cynical glamour and illusion of Hollywood to a soft, secret heart.Her narrator, a female loner and traveler, is caught in the maelstrom of films and images, where life is experienced through the eye of a camera lens and seen through the light on the screen. In a precise and elegant style, Beauty Talk & Monsters embraces and confronts a lineage of familiar myths and on- and off-screen cinematic excess in order to challenge the silver screen's century of power over our dreams and ideals. Intimate and intellectual, Tupitsyn's stories play with the cinema's most popular icons and images.

Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.

Trick or treat? With nods to Tim Burton, Edward Gorey, and Neil Gaiman, this humorous picture book about a Victorian boy obsessed with monsters presents a dark and appealing world, created by debut author/illustrator Sam Streed. In the graveyard, between stone monuments for forgotten souls, lurks the Black Shuck. . . . Its one blood-red eye burns with an undying rage. After reading about the slimy Nixie, the angry Black Shuck, and the creepy Lantern Man in his beloved Book of Monsters, Alfred decides to invite the monsters to teatime with his crusty old aunty, who thinks monsters are an improper obsession for a respectable young boy.

Collects the opinions and comments of teenagers about topics including teen-adult relations and the causes of school violence, molestation, and self-destructive behavior.

Howard Boward, a 13-year-old boy-genius with a chip on his shoulder is too smart for his own good. He has troubles making friends—possibly because he complains so much. Until one day a science experiment goes haywire, and Howard creates a best friend for himself—Franklin—who also happens to be a monster. Creating Franklin was an accident, not like Howard was playing God or anything—or so Howard tells himself. Franklin and Howard are having so much fun, Howard decides to create more “friends,” using DNA from kids at school. Only, these friends aren’t quite as friendly. Soon there’s a major mess and Howard has to sort it all out before the monsters destroy their human counterparts. But terminating the monsters proves harder than he imagined. They didn’t choose to be monsters; they can’t go against their innate nature. Howard finds himself facing consequences for playing God. Getting rid of the monsters means learning to tame his own inner beast, and Howard begins to understand the meaning of free will and true friendship