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The only certainty in life is death. Even the most powerful leaders throughout history were unable to cheat the Grim Reaper. World leaders, whether revered or reviled, are rarely allowed to exit gracefully from life but instead receive a state funeral, a major international event incorporating splendid symbols and messages, religious faith, and tradition. The body of Tsar Alexander III was carried across half of Russia before finally being buried in St. Petersburg. People paid obscene amounts of money for a room that gave a glimpse of Queen Victoria’s fascinating State funeral. The cortège for China’s Empress-Dowager Cixi was not to be photographed – nevertheless photos showed up a century later. For political reasons Generalissimo Franco’s body was exhumed decades after his death. The world became acquainted with a rather unusual ancient Roman Catholic ritual, when Pope John Paul I died. The body of India’s Indira Gandhi was confined to sacred flames. The last journey of Marshal Tito turned into an event of “Funeral Diplomacy”, whilst Khomeini’s funeral ended in frenzy and tumult. In 2021 the massive restrictions imposed due to the Covid-19 pandemic meant a rigid downsizing of Prince Philip’s funeral, hardly any guests were allowed to attend. This revealing and entertaining book provides an insight into unique obsequies from across the world, seen as both a celebration of life and the honouring of death.
The author, a computer science professor diagnosed with terminal cancer, explores his life, the lessons that he has learned, how he has worked to achieve his childhood dreams, and the effect of his diagnosis on him and his family.
The only certainty in life is death. Even the most powerful leaders throughout history were unable to cheat the Grim Reaper. World leaders, whether revered or reviled, are rarely allowed to exit gracefully from life but instead receive a state funeral, a major international event incorporating splendid symbols and messages, religious faith, and tradition. The body of Tsar Alexander III was carried across half of Russia before finally being buried in St. Petersburg. People paid obscene amounts of money for a room that gave a glimpse of Queen Victoria's fascinating State funeral. The cortège for China's Empress-Dowager Cixi was not to be photographed - nevertheless photos showed up a century later. For political reasons Generalissimo Franco's body was exhumed decades after his death. The world became acquainted with a rather unusual ancient Roman Catholic ritual, when Pope John Paul I died. The body of India's Indira Gandhi was confined to sacred flames. The last journey of Marshal Tito turned into an event of "Funeral Diplomacy", whilst Khomeini's funeral ended in frenzy and tumult. In 2021 the massive restrictions imposed due to the Covid-19 pandemic meant a rigid downsizing of Prince Philip's funeral, hardly any guests were allowed to attend. This revealing and entertaining book provides an insight into unique obsequies from across the world, seen as both a celebration of life and the honouring of death.
In 1859 the Finnish-Swedish aristocrat and naval officer, Hampus Furuhjelm arrived in Alaska as one of the Russian colony's last ambassadors. He brought with him his young wife Anna Furuhjelm, who wrote many long letters in English to her mother. These letters, for the first time, give us a vivid picture of everyday life in the colonial capital, Sitka, in the period shortly before the USA. took over Alaska. The letters have been edited and commented by Anna Furuhjelm's great-granddaughter, Anni Christensen.
The emergence of new and substantial human migration flows is one of the most important consequences of globalisation. While ascribable to widely differing social and economic causes, from the forced migration of refugees to upper-middle-class migration projects and the movement of highly skilled workers, what they have in common is the effect of contributing to a substantial global redefinition in terms of both identity and politics. This book contains contributions from scholars in the fields of law, social sciences, the sciences, and the liberal arts, brought together to delineate the features of the migration phenomena that will accompany us over the coming decades. The focus is on the multifaceted concept of 'border' as representing a useful stratagem for dealing with a topic like migration that requires analysis from several perspectives. The authors discuss the various factors and issues which must be understood in all their complexity so that they can be governed by all social stakeholders, free of manipulation and false consciousness. They bring an interdisciplinary and comparative perspective to the social phenomena such as human trafficking, unaccompanied foreign minors, or ethnic-based niches in the job market. The book will be a valuable guide for academics, students and policy-makers.
I'm ill-equipped for this. I sit by a fake fireplace that frames a real flame. I've been crossed by two crows today. ‘Multi-vectored, Rogers's poems hum with life and tension, their speaker poised as mother, seer, reporter and daughter. They speak of loss and cold realities (misplaced charms of luck, a tour of an assisted-living facility, coins thrown into Niagara Falls). They also interweave dreams and visions: "O Lion, I am / an old handmaiden; I will not lay the pretty baby in the lap / of the imposter." Simple but evocative, at once strange and plain, Rogers's poems of address ricochet off the familiar "Dear Reader" or Dickinson's "Dear Master" ... Rogers's poems provide instructions for what to leave, what to take and what to fight. They act as selvage between the vast mother-ocean — the mem of memory — and the fabric we make of the uncertain in-between.’ — Hoa Nguyen, The Boston Review ‘How can we live with the kind of pain that worsens each day? Dear Leader explains through bold endurance, enumerated blessings and the artistic imagination. By pasting stark truths over, or under, images of strange, compelling beauty, Rogers creates a collage, a simulation of the human heart under assault, bleeding but unbroken. Part Orpheus, part pop-heroine who can “paint the daytime black,” all, an original act of aesthetic violence and pure, dauntless, love.’ — Lynn Crosbie ’In Dear Leader, Damian Rogers re-invents the same-old poetic lyric to offers us one-of-a-kind insights on childbirth and party bars, rolling blackouts and old rock standards. Here, what looks at first like familiar language always reveals itself to be a rare mineral. And that’s the magic: this is a poetry that refuses to be staged or to succumb to cliché or mannerism, insisting on celebration and condemnation, caution and cosmic vibrations. “Say you’re a poet,” Rogers advises us, tongue-in-cheek, “Maybe you mean / Hi, I have a lot of feelings.” Striking that balance between one-liners and mourning is no small feat.‘ —Trillium Award Jury Citation Praise for Paper Radio: ‘Paper Radio jumped out at me and I can’t say why, but that’s what you want poetry to do, and I never want to say why. Because it’s real and talking to me. Because it’s bloody and horrifying beauty. It’s the Clash and Buckminster Fuller, Auden and Bowie. — Bob Holman Originally from the Detroit area, Damian Rogers now lives in Toronto where she works as the poetry editor of House of Anansi Press and as the creative director of Poetry in Voice. Her first book, Paper Radio, was nominated for the Pat Lowther Memorial Award.
"The African hero of the Trojan War and the keys to ancient world civilization"--P. facing T.p.
The renowned novel from crime fiction master Raymond Chandler, with the "quintessential urban private eye" (Los Angeles Times), Philip Marlowe • Featuring the iconic character that inspired the film Marlowe, starring Liam Neeson. Philip Marlowe's about to give up on a completely routine case when he finds himself in the wrong place at the right time to get caught up in a murder that leads to a ring of jewel thieves, another murder, a fortune-teller, a couple more murders, and more corruption than your average graveyard.
"The History of the Fleet Street House": 20 p. at the end of v. 18.