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Originally published in hardcover in 2012.
"It is a record of her awakening from a great spiritual numbness into a renewed determination to make her life of service to others -- to live so that on each third of March to come she can look back upon some achievement that has justified her teacher's faith in her. Miss Keller's whole philosophy is in these pages" -- page vi.
This book deals with her 25 years after Helen Keller left Radcliffe--the story of her work and friendships.
Encompassing a variety of perspectives on the lives of older women in modern America, this book is a rich mosaic, drawing on demographic, social-psychological, social-historical, economic, and gerontological data, and incorporating transcripts of oral histories, interviews with women artists, fiction and essays by and about women in the second half of their lives, autobiographies, diaries, journals, letters, and other sources.
With the warmth and humor we've come to know, the creator and host of A Prairie Home Companion shares his own remarkable story. In That Time of Year, Garrison Keillor looks back on his life and recounts how a Brethren boy with writerly ambitions grew up in a small town on the Mississippi in the 1950s and, seeing three good friends die young, turned to comedy and radio. Through a series of unreasonable lucky breaks, he founded A Prairie Home Companion and put himself in line for a good life, including mistakes, regrets, and a few medical adventures. PHC lasted forty-two years, 1,557 shows, and enjoyed the freedom to do as it pleased for three or four million listeners every Saturday at 5 p.m. Central. He got to sing with Emmylou Harris and Renée Fleming and once sang two songs to the U.S. Supreme Court. He played a private eye and a cowboy, gave the news from his hometown, Lake Wobegon, and met Somali cabdrivers who’d learned English from listening to the show. He wrote bestselling novels, won a Grammy and a National Humanities Medal, and made a movie with Robert Altman with an alarming amount of improvisation. He says, “I was unemployable and managed to invent work for myself that I loved all my life, and on top of that I married well. That’s the secret, work and love. And I chose the right ancestors, impoverished Scots and Yorkshire farmers, good workers. I’m heading for eighty, and I still get up to write before dawn every day.”
Helen Keller's essay on her own spiritual process as influenced by Emanuel Sedenborg's writings on Christianity.
Since the founding of the United States, women have picked up their pens to write and express their ideas, affording them independence and self-sufficiency in days when they had little. By way of their poetry, essays, advice columns, investigative journalism and more, women like Helen Keller, Louisa May Alcott, Charlotte Perkins Gilman and Shirley Jackson wrote not only to entertain and inform, but often to simply keep a roof over their heads. This text offers a unique examination of female New England writers, focusing on their homes. The women wrote in many genres and became literary entrepreneurs, bargaining with editors for higher fees and royalties, participating in marketing campaigns, and seeking advice and help. The homes women bought with their earnings included cottages, suburban houses, farms, and an occasional mansion. Whether modest or luxurious, these houses provided the "room of her own" that Virginia Woolf said every woman needs in order to write. Sometimes that room was an elegant study, and sometimes a corner of the kitchen.
The obituary pages of our quality newspapers have been described as 'oases of calm in a world gone mad', 'a lovely part of the paper to linger in', and 'writing that matters'. Entertaining, inspiring and informative, they serve as a legitimate instrument of history, and have enjoyed an extraordinary revival in popularity over the past twenty years. Life After Death investigates-and celebrates-the development of the obituary form in the British, American, and Australian press. Author Nigel Starck tracks down the earliest exercise in obituary publication (in 1622), then traces the evolution of the form over four centuries, from times when the obituary was the reserve of royalty and privilege to its contemporary egalitarian mode. Along the way Dr Starck delves into a multitude of lives, from the heroic to the comic, the saintly to the downright villainous, the exemplary to the eccentric. Meet, in the posthumous cast list, Major Digby Tatham-Warter, of Britain's Parachute Regiment, who carried an umbrella into battle just in case it rained; the absent-minded Australian barrister Pat Lanigan, who drove from Canberra to Sydney and then flew back, leaving his car behind; and the eccentric American publisher Eddie Clontz, whose newspaper reported (exclusively, of course) that 'tiny terrorists' were disguising themselves as garden gnomes. Life After Death also incorporates a connoisseur's collection of ten obituaries reprinted in full: the subjects include Helen Keller, Diana Mosley, Quentin Crisp, George Wallace, and Rosa Parks. Without doubt, Life After Death is a book that will outlive its author-as an enduring celebration of journalism's dying art. 'Canon Smith expired after suffering an unfortunate disagreement with his bishop.'-The Sydney Morning Herald, 1882 'Minnesota Fats died at his home in Nashville. He was eighty-two, or perhaps ninety-five.'-The New York Times, 1996