In this collaborative volume, the writer and artist Paul Buck works with the late Kathy Acker. Using as source the raw materials of their correspondence from the early 80s, a period when Acker was writing Great Expectations and trying to leave America for London, Buck confronts issues of appropriation, sampling, and plagiarism, relevant then and now. Spread Wide works to spread wide not only the thighs, but also the page and writing itself, to expose the textual and narrative pulsations that are fundamental to the creative process as experienced by both of these notable practitioners. Through Acker's letters and re-readings of her published work, Buck blurs the line between visual arts and literature, tramps documents into fiction, and creates a transgressive work that stretches back to the time of their first meetings in Amsterdam and Paris, when, as editor of the seminal magazine Curtains, he blasted French contemporary writings into the British bloodstream. Further encounters are triggered by writer Rebecca Stephens and artist John Cussans.

Dripping Thighs, Sticky Chicken Fingers, Vanilla Chicken, Chicken with a Lardon, Bacon-Bound Wings, Spatchcock Chicken, Learning-to-Truss-You Chicken, Holy Hell Wings, Mustard-Spanked Chicken, and more, more, more! Fifty chicken recipes, each more seductive than the last, in a book that makes every dinner a turn-on. “I want you to see this. Then you’ll know everything. It’s a cookbook,” he says and opens to some recipes, with color photos. “I want to prepare you, very much.” This isn’t just about getting me hot till my juices run clear, and then a little rest. There’s pulling, jerking, stuffing, trussing. Fifty preparations. He promises we’ll start out slow, with wine and a good oiling . . . Holy crap. “I will control everything that happens here,” he says. “You can leave anytime, but as long as you stay, you’re my ingredient.” I’ll be transformed from a raw, organic bird into something—what? Something delicious. So begins the adventures of Miss Chicken, a young free-range, from raw innocence to golden brown ecstasy, in this spoof-in-a-cookbook that simmers in the afterglow of E.L. James’s sensational Fifty Shades of Grey trilogy. Like Anastasia Steele, Miss Chicken finds herself at the mercy of a dominating man, in this case, a wealthy, sexy, and very hungry chef. And before long, from unbearably slow drizzling to trussing, Miss Chicken discovers the sheer thrill of becoming the main course. A parody in three acts—“The Novice Bird” (easy recipes for roasters), “Falling to Pieces” (parts perfect for weeknight meals), and “Advanced Techniques” (the climax of cooking)—Fifty Shades of Chicken is a cookbook of fifty irresistible, repertoire-boosting chicken dishes that will leave you hungry for more. With memorable tips and revealing photographs, Fifty Shades of Chicken will have you dominating dinner.

Every woman considers herself an individual. In vain, as regardless of race, ethnicity, profession and so on, no woman is an individual. Every woman lives as man programmed her to live, as it is convenient for him, as he wants her to. Women do not even suspect who produces images for what they consider their "Self," and why. By studying the history of world culture (literature, pictorial art, architecture, music, science, etc.), it is easy to trace that men usurped everything that had to do with images, as ideas for creation of anything. And, from time immemorial, women were left with a role of stupid consumers, and performers, and it was made sure that women think that they (women) are creators too. But, women did not participate in the birth of any product, which begins with a sketch, and in turn a sketch begins with an idea, and an idea begins with an image. Yes, women weaved, embroidered, painted cloth, and sometimes sewed. But, based on sketches made by whom? Based on sketches and patterns created by men. The essence of this process is to forbid women from creating images, and under any excuse to never allow women to do it, ever. Excuses used are from rudest and degenerative ("What are you trying to do, you fool? Go make me a sandwich instead," or "Do you not hear your baby crying?”), to the most romantic and poetic ("You are my muse, just be near, inspire me, you are so beautiful!"). Men’s intent is simple: to have total control over the psyche and the physiology of any woman because an image is the basis of functioning of any person. Providing an image to a woman ensures that she will live and function strictly according to this image. Also, an image is the basis for control of any person, as well as the basis of knowledge about her/him. Men create images. Therefore, they know exactly what image is behind this or that behavior of a woman. In other words, they know how she will think, act, present herself, what she will want, strive for and seek (from men as well). So, a woman does not even suspect that she is like an open book for any man, even if he sees her for the first time. But, women are sure that images that they use (including for construction of their "Self-Image," that they consider their individuality) are a secret. Borrowing images that were made up by men from cultural sources, and using them to form her personality, her way of life, any woman strongly believes in her unrepeatability, originality, and uncognizability. What do you think, who gave women this assurance, and why? In other words, men achieved what they wanted: from potential goddesses, women were made into logs, a resource, a consumable material from which a man can make whatever he likes. Men use women for all and any of their needs. Today, women are allowed everything, even to pretend that they create images too. Only women are not aware that they make their creations solely on the basis of those artificial images, which have already been thought up by men, and have been put into women for centuries, from generation to generation, in the process of "domestication." Women are celebrating victory, but none of them wonder why, for example, a couple of centuries ago there were no women filmmakers, litterateurs, painters, scientists or politicians? Or, why in the history of humans their percentage ratio is so low? Or, how many prime ministers there were before Margaret Thatcher and what was their gender? Or, in what century there was the first female president? And so on. Even a quick historical review, readily available statistics make it clear that women are allowed only into already constructed and functioning system built by men. And, women are allowed to act only based on and within images that the system dictates. Women lost the "war between the sexes." Since the time of birth women are being made into logs with legs spread wide, as an indication of their main purpose—to participate in the reproduction of the human race, and be pleasant toys in the hands of men. Most important is to not forget to tell women, who "love through their ears," that they are wonderful, priceless, how much men love them and depend on them. Long ago women were programmed to believe in any nonsense, instead of seeing and analyzing facts (as well as history).

David Crystal's A Dictionary of Linguistics and Phonetics has long been the standard single-volume reference for its field. Now available in its sixth edition, it has been revised and updated to reflect the latest terms in the field. Includes in excess of 5,100 terms, grouped into over 3,000 entries Coverage reflects recommendations by a team of experts in phonetics, phonology, syntax, semantics, sociolinguistics and psycholinguistics, making it exceptionally comprehensive Incorporates new ideas stemming from the minimalist program Contains a separate table of abbreviations and table of symbols, along with an updated International Phonetic Alphabet Updates entries to reflect the way established terms are now perceived in light of changes in the field, providing a unique insight into the historical development of linguistics Remains the standard single-volume reference for the field of linguistics and phonetics.