Vanessa Place Bücher

Focusing on the unique approach to legal documentation, this work transforms appellate briefs into poetry, emphasizing the narrative of factual evidence while maintaining ethical standards. It consists of three parts: a Statement of Facts detailing trial evidence, a Statement of the Case outlining procedural history, and an Argument presenting claims of error. By creatively reproducing these legal texts, the author sheds light on the complexities of the justice system, ensuring anonymity where needed while engaging readers in a poetic exploration of legal narratives.

The book explores the evolving legal and societal perceptions of rape, tracing its historical context from the 18th century, when accusations were often dismissed and required physical resistance as proof, to contemporary views shaped by feminist movements. It highlights significant shifts in defining rape, emphasizing the recognition of its inherent violence and the broadening of its legal parameters to include various forms of sexual assault. This transformation reflects a growing understanding of victim experiences and the complexities surrounding consent.

Literary Nonfiction. Poetics. "In NOTES ON CONCEPTUALISMS, Place and Fitterman erect the first critical framework toward the understanding of conceptual writing, an emergent early twenty-first century literary movement. Elegantly parsed and carefully dissected, this work fleshes out many of the missing details proposed thus far regarding the methodologies and strategies of how to proceed with innovative writing. Both direct and oblique, NOTES is itself a self-reflexive work of conceptual writing in the guise of theory; or is it a work of theory in the guise of conceptual writing? By smartly straddling the creative and the critical, this book does twice the work toward our understanding of what it means to be contemporary"--Kenneth Goldsmith.

An English court in 1736 described rape as an accusation “easily to be made and hard to be proved, and harder to be defended by the party accused, though never so innocent. ”To prove the crime, the law required a woman to physically resist, to put up a “hue and cry,” as evidence of her unwillingness. Beginning in the 1970s, however, feminist and victim-advocacy groups began changing attitudes toward rape so the crime is now seen as violent in itself: the legal definition of rape now includes everything from the sadistic serial rapist to the eighteen-year-old who has consensual sex with a fourteen-year-old. This inclusiveness means there are now more rapists among us. And more of rape’s camp followers: the prison-makers, the community watchdogs, law-and-order politicians, and the real-crime/real-time entertainment industry. Vanessa Place examines the ambiguity of rape law by presenting cases where guilt lies, but lies uneasily, and leads into larger ethical questions of what defines guilt, what is justice, and what is considered just punishment. Assuming a society can and must be judged by the way it treats its most despicable members, The Guilt Project looks at the way the American legal system defines, prosecutes, and punishes sex offenders, how this Dateline NBC justice has transformed our conception of who is guilty and how they ought to be treated, and how this has come to undo our deeper humanity

A polyphonic novel of post-conceptual consciousness.

Can we see into the future to tell if we are going to be happy or rich? What does fate have in store for us? This title presents an overview of the history and forms of divination that have existed in human culture since prehistoric times. It looks at divination methods including Tarot, astrology, palmistry and other body readings, and I Ching.