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Nearly 150 years ago, the Massachusetts state constabulary launched an investigation into the brutal murders of three elderly people at their farmhouse on Thompson Street in rural Halifax. The story of the murders and the aftermath has been passed down through the generations and has become part of local lore. Until now, no comprehensive, definitive, substantiated account has been published. To fully disclose what happened, and why, required extensive research into the holdings of the Halifax Historical Society and Museum, contemporaneous news accounts, court and prison records, town histories, census returns, vital records, archival manuscripts, case law, and other documentary evidence. A genealogical study of the principal characters in the story helped in sorting out the intertwined relationships common to small communities of the era, giving shape to the characters' lives leading up to the murders and lending context to the hard facts of the case.
Beyond Grief explores high-style funerary sculptures and their functions during the turn of the twentieth century. Many scholars have overlooked these monuments, viewing them as mere oddities, a part of an individual artist's oeuvre, a detail of a patron's biography, or local civic cemetery history. This volume considers them in terms of their wider context and shifting use as objects of consolation, power, and multisensory mystery and wonder. Art historian Cynthia Mills traces the stories of four families who memorialized their losses through sculpture. Henry Brooks Adams commissioned perhaps the most famous American cemetery monument of all, the Adams Memorial in Washington, D.C. The bronze figure was designed by Augustus Saint-Gaudens, who became the nation’s foremost sculptor. Another innovative bronze monument featured the Milmore brothers, who had worked together as sculptors in the Boston area. Artist Frank Duveneck composed a recumbent portrait of his wife following her early death in Paris; in Rome, the aging William Wetmore Story made an angel of grief his last work as a symbol of his sheer desolation after his wife’s death. Through these incredible monuments Mills explores questions like: Why did new forms--many of them now produced in bronze rather than stone and placed in architectural settings--arise just at this time, and how did they mesh or clash with the sensibilities of their era? Why was there a gap between the intention of these elite patrons and artists, whose lives were often intertwined in a closed circle, and the way some public audiences received them through the filter of the mass media? Beyond Grief traces the monuments' creation, influence, and reception in the hope that they will help us to understand the larger story: how survivors used cemetery memorials as a vehicle to mourn and remember, and how their meaning changed over time.
“Compassionate, poignant, and practical. . . . Transcending Loss will be a great blessing on your lifetime journey of recovery.”—Harold Bloomfield, MD, psychiatrist and author of How to Survive the Loss of Love and How to Heal Depression Death doesn’t end a relationship, it simply forges a new type of relationship—one based not on physical presence but on memory, spirit, and love. There are many wonderful books available that address acute grief and how to cope with it. But they often focus on crisis management and imply that there is an "end" to mourning, and fail to acknowledge grief’s ongoing impact and how it changes through the years. “This is a book about death and grief, yes, but more important, it is a book about love and hope. I have learned from my experience and interviews with courageous people about pain, struggle, resiliency, and meaning. Their stories show over time, you can learn to transcend even in spite of the pain.”—from the introduction by Ashley Davis Bush, LCSW
A fearless writer confronts grief and transforms it into art, in a book of surprising beauty and love, "a masterpiece by a master” (Elizabeth McCracken, Vanity Fair). "Li has converted the messy and devastating stuff of life into a remarkable work of art.”—The Wall Street Journal WINNER OF THE PEN/JEAN STEIN AWARD • LONGLISTED FOR THE PEN/FAULKNER AWARD • NAMED ONE OF THE TEN BEST FICTION BOOKS OF THE YEAR BY TIME AND ONE OF THE BEST BOOKS OF THE YEAR BY Parul Seghal, The New York Times • NPR • The Guardian • The Paris Review The narrator of Where Reasons End writes, “I had but one delusion, which I held on to with all my willpower: We once gave Nikolai a life of flesh and blood; and I’m doing it over again, this time by words.” Yiyun Li meets life’s deepest sorrows as she imagines a conversation between a mother and child in a timeless world. Composed in the months after she lost a child to suicide, Where Reasons End trespasses into the space between life and death as mother and child talk, free from old images and narratives. Deeply moving, these conversations portray the love and complexity of a relationship. Written with originality, precision, and poise, Where Reasons End is suffused with intimacy, inescapable pain, and fierce love.
A fictional "portrait of an artist and woman drawn to the brink of destruction by the cruelty of life. In her ... novel, Amelia Gray offers a ... portrayal of a legendary artist churning through prewar Europe. [The book] seeks to obliterate the mannered portrait of a dancer and to introduce the reader to a woman who lived and loved without limits, even in the darkest days of her life"--Amazon.com.
Longlisted for the 2018 National Book Award for Poetry " Trethewey's poems] dig beneath the surface of history--personal or communal, from childhood or from a century ago--to explore the human struggles that we all face." --James H. Billington, 13th Librarian of Congress Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument, Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love. In this setting, each section, each poem drawn from an "opus of classics both elegant and necessary,"* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future. *Academy of American Poets' chancellor Marilyn Nelson
In the summer of 1863, Gob and Tomo Woodhull, eleven-year-old twin sons of Victoria Woodhull, agree to together forsake their home and family in Licking County, Ohio, for the glories of the Union Army. But on the night of their departure for the war, Gob suffers a change of heart, and Tomo is forced to leave his brother behind. Tomo falls in as a bugler with the Ninth Ohio Volunteers and briefly revels in camp life; but when he is shot clean through the eye in his very first battle, Gob is left to endure the guilt and grief that will later come to fuel his obsession with building a vast machine that will bring Tomo–indeed, all the Civil War dead–back to life. Epic in scope yet emotionally intimate, Gob’s Grief creates a world both fantastic and familiar and populates it with characters who breath on the page, capturing the spirit of a fevered nation populated with lost brothers and lost souls.
A vulnerable, honest and deeply personal guide to finding your way through grief. Flora Baker was only twenty when her mum died suddenly of cancer. Her coping strategy was simple: ignore the magnitude of her loss. But when her dad became terminally ill nine years later, Flora was forced to confront the reality of grief. She had to accept that her life had changed forever. In The Adult Orphan Club, Flora draws on a decade of experience with grief and parent loss to explore all the chaotic ways that grief affects us, and how we can learn to navigate it. Written with the newly bereaved in mind and packed with practical tips and advice, this book guides the reader through every step of their grief journey and opens up the death conversation in an honest, heartfelt and accessible way. Whether you’re grieving your own loss or supporting someone else through grief, The Adult Orphan Club will show you that you’re not broken, and you’re not alone.
Originally published as Rum, a Tailor's Goose, and a Soap Box: Three Murderous Affairs in the History of Hanover, Massachusetts, this book offers readers an updated version of the three crimes that shook peaceful Hanover, Massachusetts more than 100 years ago. The author has delved more deeply into the tragedies and provides additional information about each incident and the principal characters involved, and has included forty illustrations, many not seen in his original version. The shooting deaths of two railroad laborers by a recalcitrant, illicit rum dealer shocked the tranquil town of Hanover, Massachusetts in 1845. Violence again visited the town nearly thirty years later when the manager of a hotel in the town's Four Corners village murdered a woman in his employ. An impulsive young Canadian immigrant entered a Chinese laundry and robbed and killed the owner in the same village three decades after that. Journey back in time as John F. Gallagher chronicles these crimes that afflicted Hanover during the nineteenth and early twentieth centuries. Explore the everyday lives of Hanover's citizens, the social and moral issues of their time, and the impact each murder had on the community, the families of the victims, and the accused. Learn about the circumstances whereby the victims, all recent immigrants, came to America filled with dreams and aspirations they would never realize.
This book examines the way in which early modern women writers conceived of grief and the relationship between the dead and the living.