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Less than a year after the end of authoritarian rule in 1998, huge images of Jesus Christ and other Christian scenes proliferated on walls and billboards around a provincial town in eastern Indonesia where conflict had arisen between Muslims and Christians. A manifestation of the extreme perception that emerged amid uncertainty and the challenge to seeing brought on by urban warfare, the street paintings erected by Protestant motorbike-taxi drivers signaled a radical departure from the aniconic tradition of the old colonial church, a desire to be seen and recognized by political authorities from Jakarta to the UN and European Union, an aim to reinstate the Christian look of a city in the face of the country’s widespread islamicization, and an opening to a more intimate relationship to the divine through the bringing-into-vision of the Christian god. Stridently assertive, these affectively charged mediations of religion, masculinity, Christian privilege and subjectivity are among the myriad ephemera of war, from rumors, graffiti, incendiary pamphlets, and Video CDs, to Peace Provocateur text-messages and children’s reconciliation drawings. Orphaned Landscapes theorizes the production of monumental street art and other visual media as part of a wider work on appearance in which ordinary people, wittingly or unwittingly, refigure the aesthetic forms and sensory environment of their urban surroundings. The book offers a rich, nuanced account of a place in crisis, while also showing how the work on appearance, far from epiphenomenal, is inherent to sociopolitical change. Whether considering the emergence and disappearance of street art or the atmospherics and fog of war, Spyer demonstrates the importance of an attunement to elusive, ephemeral phenomena for their palpable and varying effects in the world. Orphaned Landscapes: Violence, Visuality, and Appearance in Indonesia is available from the publisher on an open-access basis.
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.
"Of beach plums, ramps, and Ramada Inns: a quietly sensitive eminently sensible consideration of the landscapes of our lives . . . A gift." —Kirkus Reviews Following her bestselling The Architect of Desire, Suzannah Lessard returns with a remarkable book, a work of relentless curiosity and a graceful mixture of observation and philosophy. This intriguing hybrid will remind some of W. G. Sebald’s work and others of Rebecca Solnit’s, but it is Lessard’s singular talent to combine this profound book–length mosaic— a blend of historical travelogue, reportorial probing, philosophical meditation, and prose poem—into a work of unique genius, as she describes and reimagines our landscapes. In this exploration of our surroundings, The Absent Hand contends that to reimagine landscape is a form of cultural reinvention. This engrossing work of literary nonfiction is a deep dive into our surroundings—cities, countryside, and sprawl—exploring change in the meaning of place and reimagining the world in a time of transition. Whether it be climate change altering the meaning of nature, or digital communications altering the nature of work, the effects of global enclosure on the meaning of place are panoramic, infiltrative, inescapable. No one will finish this book, this journey, without having their ideas of living and settling in their surroundings profoundly enriched.
This "wise and caring book" (Library Journal) is a guide to understanding and coping with grief and all of the disorienting emotions that accompany the death of our parents. Losing our parents when we ourselves are adults is in the natural order of things, a rite of passage into true adulthood. But whether we lose them suddenly or after a prolonged illness, and whether we were close to or estranged from them, this passage proves inevitably more difficult than we thought it would be. From the recognition of our own mortality and sudden child-like sorrow to a sometimes-subtle change in identity or shift of roles in the surviving family, The Orphaned Adult guides readers through the storm of change this passage brings and anchors them with its compassionate and reassuring wisdom.
In this eloquent plea for compassion and respect for all species, journalist and gardener Nancy Lawson describes why and how to welcome wildlife to our backyards. Through engaging anecdotes and inspired advice, profiles of home gardeners throughout the country, and interviews with scientists and horticulturalists, Lawson applies the broader lessons of ecology to our own outdoor spaces. Detailed chapters address planting for wildlife by choosing native species; providing habitats that shelter baby animals, as well as birds, bees, and butterflies; creating safe zones in the garden; cohabiting with creatures often regarded as pests; letting nature be your garden designer; and encouraging natural processes and evolution in the garden. The Humane Gardener fills a unique niche in describing simple principles for both attracting wildlife and peacefully resolving conflicts with all the creatures that share our world.
How exactly do linguistic landscapes communicate and what theoretical significance might follow from such an inquiry? This book addresses these questions by taking as its starting point the insight that the individual or organisation that is responsible for the production of a sign may not be physically present at the landscape itself. The information to be conveyed is typically designed as a piece of signage to be emplaced at the site. Drawing on Goffman’s notion of a production format, the book argues that the constructed piece of sign and its intended placement within the landscape combine to constitute an animator complex. This raises the possibility of a disruption to the sign and its placement in the landscape. The book describes various ways in which the integrity of the animator complex can be disrupted (e.g. the sign may be moved out of place through vandalism or acts of nature, or the organisation that the sign represents may no longer be in business), identifi es different types of animators, and expands on the implications for phenomena such as affect, multivocality, footing and the materiality of language. In doing so, the book also demonstrates the value of bringing in Bakhtin’s work on heteroglossia and the dialogicity of communication, integrating the ideas of Bakhtin with those of Goffman.
Illustrations and rhyming text tell the story of a sister and two brothers who become orphans, are taken in, and make a journey aboard an orphan train to separate new homes.
In 1904, New York nuns brought forty Irish orphans to a remote Arizona mining camp, to be placed with Catholic families. The Catholic families were Mexican, as was the majority of the population. Soon the town's Anglos, furious at this "interracial" transgression, formed a vigilante squad that kidnapped the children and nearly lynched the nuns and the local priest. The Catholic Church sued to get its wards back, but all the courts, including the U.S. Supreme Court, ruled in favor of the vigilantes. The Great Arizona Orphan Abduction tells this disturbing and dramatic tale to illuminate the creation of racial boundaries along the Mexican border. Clifton/Morenci, Arizona, was a "wild West" boomtown, where the mines and smelters pulled in thousands of Mexican immigrant workers. Racial walls hardened as the mines became big business and whiteness became a marker of superiority. These already volatile race and class relations produced passions that erupted in the "orphan incident." To the Anglos of Clifton/Morenci, placing a white child with a Mexican family was tantamount to child abuse, and they saw their kidnapping as a rescue. Women initiated both sides of this confrontation. Mexican women agreed to take in these orphans, both serving their church and asserting a maternal prerogative; Anglo women believed they had to "save" the orphans, and they organized a vigilante squad to do it. In retelling this nearly forgotten piece of American history, Linda Gordon brilliantly recreates and dissects the tangled intersection of family and racial values, in a gripping story that resonates with today's conflicts over the "best interests of the child."
Tula Telfair's hyper-realistic landscape paintings are at once awe-inspiring and extremely personal. Although vividly detailed, the scenes she depicts are not found in nature; they are conjured from memory and imagination. Informed by her experiences growing up on four continents, Telfair produces fantastical visions with delicate brushstrokes and a breathtaking mastery of color and light. Suggestive of waterfalls in Africa, deserts of the American Southwest, and ice floes in Antarctica, Telfair's art draws attention to the power and fragility of nature. Essays by Henry Adams and Michael S. Roth explore the technical and aesthetic aspects of Telfair's work, her personal history, and the interplay between realism and invention.
In March of 1940, as Hitler plans to eradicate Jews,10-year-old Lizzi left Vienna on a small transport of children seeking refuge in America. Two weeks later she began her new way of life in San Francisco, getting a new name, Phyllis, and having to learn a new language. Although her family was scattered on three continents, they are linked by letters.This poignant coming-of-age story is told through the letters. Phyllis wrote her parents details of her new life as she grew into adolescence and became an American, while they tried to parent her long distance. During the next six years she moved in and out of foster homes and an orphanage due to her rebellious behavior, but as she defended herselfstoutly in her letters, she gained self-confidence and skills to become an independent, responsible adult. Though her parents tried desperately to join her, they were stopped by red tape. Her mother labored in German slave camps, while her father was erroneously incarcerated in Australia. The moods, hopes, fears, and accomplishments of all are recounted in the details of the letters. Interwoven between the letters is a narrative that depicts the times and places of that era.