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At times we may be called to be companions on a journey we would rather not take--the journey of a loved one toward the end of life. For those who choose to serve as close companions of terminally ill relatives or friends, Parting offers the collective wisdom of people from many cultures and faith traditions as a "travel guide" for meaningful companionship--helping someone toward a peaceful transition from this life. Sections of the book discuss how to cross the bridge from ordinary conversation to spiritual reflection; how to provide comforts for the body, mind, and soul; and how to care for yourself while concentrating on the needs of another. Transcending any specific religion or culture, this handbook addresses universal spiritual needs. Designed for easy reading by weary travelers, this practical, pocket-sized guide prepares the spiritual companion for an enriching experience, even on the journey toward life's end. It is an indispensable tool for family members and friends, hospice workers, religious leaders, counselors, and medical providers.
Judith Butler follows Edward Said's late suggestion that through a consideration of Palestinian dispossession in relation to Jewish diasporic traditions a new ethos can be forged for a one-state solution. Butler engages Jewish philosophical positions to articulate a critique of political Zionism and its practices of illegitimate state violence, nationalism, and state-sponsored racism. At the same time, she moves beyond communitarian frameworks, including Jewish ones, that fail to arrive at a radical democratic notion of political cohabitation. Butler engages thinkers such as Edward Said, Emmanuel Levinas, Hannah Arendt, Primo Levi, Martin Buber, Walter Benjamin, and Mahmoud Darwish as she articulates a new political ethic. In her view, it is as important to dispute Israel's claim to represent the Jewish people as it is to show that a narrowly Jewish framework cannot suffice as a basis for an ultimate critique of Zionism. She promotes an ethical position in which the obligations of cohabitation do not derive from cultural sameness but from the unchosen character of social plurality. Recovering the arguments of Jewish thinkers who offered criticisms of Zionism or whose work could be used for such a purpose, Butler disputes the specific charge of anti-Semitic self-hatred often leveled against Jewish critiques of Israel. Her political ethic relies on a vision of cohabitation that thinks anew about binationalism and exposes the limits of a communitarian framework to overcome the colonial legacy of Zionism. Her own engagements with Edward Said and Mahmoud Darwish form an important point of departure and conclusion for her engagement with some key forms of thought derived in part from Jewish resources, but always in relation to the non-Jew. Butler considers the rights of the dispossessed, the necessity of plural cohabitation, and the dangers of arbitrary state violence, showing how they can be extended to a critique of Zionism, even when that is not their explicit aim. She revisits and affirms Edward Said's late proposals for a one-state solution within the ethos of binationalism. Butler's startling suggestion: Jewish ethics not only demand a critique of Zionism, but must transcend its exclusive Jewishness in order to realize the ethical and political ideals of living together in radical democracy.
“Downton Abbey meets Gangs of New York…a gem of a novel to be inhaled in one gulp” (Kate Quinn, New York Times bestselling author) about a devoted maid whose secretive world is about to be ripped apart at the seams—a lush and evocative debut set in 19th-century New York that’s perfect for fans of Sarah Waters’s Fingersmith and Emma Donoghue’s Slammerkin. By day, Mary Ballard is dutiful lady’s maid to Charlotte Walden, a wealthy and accomplished belle of New York City high society. But Charlotte would never trust Mary again if she knew the truth about her devoted servant’s past. On her nights off, Mary sheds her persona as prim and proper lady’s maid to reveal her true self—Irish exile Maire O’Farren. She finds release from her frustration in New York’s gritty underworld—in the arms of a prostitute and as drinking companion to a decidedly motley crew consisting of members of a dangerous secret society. Meanwhile, Charlotte has a secret of her own—she’s having an affair with a stable groom, unaware that her lover is actually Mary’s own brother. When the truth of both women’s double lives begins to unravel, Mary is left to face the consequences. Forced to choose between loyalty to her brother and loyalty to Charlotte, between society’s respect and true freedom, Mary finally learns that her fate lies in her hands alone. A captivating historical fiction of 19th century upstairs/downstairs New York City, The Parting Glass examines sexuality, race, and social class in ways that feel startlingly familiar and timely. A perfectly paced, romantically charged “story of the sumptuous world of the privileged and the precarious, difficult environs of the immigrant working poor is highlighted by vibrant characters and a well-paced plot, which will pull readers into the tangled tale” (Publishers Weekly).
Valedictory addresses offer a way to conceptualize the relation of self to others, private to public, ephemeral to eternal. Whether deathbed pronouncements, political capitulations, or seafaring farewells, "parting words" played a crucial role in the social imagination of Victorian writing. In this compelling new book, Justin Sider traces these public addresses across a wide range of works, from poems by Byron, Tennyson, and Browning, to essays by Twain and Wilde, to novels by Dickens and Eliot. Ironically, while the Victorian era saw the loss of faith in a unitary national public, it asked poetry to address just such a public. Attending to the form, rather than the discursive content, of poets' engagement with public culture, Parting Words explains how the valedictory allowed Victorian poets to explore the ways their poems might be received by distant and anonymous readers in an emergent mass culture. Using a wide array of materials such as letters and reviews to describe the rapidly changing print culture in which poets were intervening, Sider shows how the growing diversification and destabilization of the Victorian reading public was countered by the demand for a public poetry. Characteristically, the speakers of Tennyson's "Ulysses" and Matthew Arnold's "Empedocles on Etna" imagine their farewells as simultaneous entrances into a public space where they and their readers, however distant, might yet meet. This new consciousness anticipated modernist poetry, which in turn used the valedictory to underscore the futility and alienation of such hopes.
A “feverish and hypnotic” LGBTQ novel, combining the intoxicating atmosphere of Israel’s Mediterranean coast with the mounting dread of Patricia Highsmith and the eroticism of Edmund White (Shelf Awareness). “An unabashed tale that does not pull punches and looks at love’s underside . . . hits hard and never lets up.” —André Aciman, author of Call Me by Your Name An unnamed narrator writes a letter to an old college friend, Adam, with whom he has been staying since his abrupt return to the States from Israel. Now that the narrator is moving on to a new location, he finally reveals the events that led him to Adam’s door, set in motion by a chance encounter with Uzi, a spice merchant whose wares had developed a cult following. From his first meeting with Uzi, the narrator is overwhelmed by an animal attraction that will lead him to derail his life, withdraw from friends and extend his stay in a small town north of Tel Aviv. As he becomes increasingly entangled in Uzi’s life—and by extension the lives of Uzi’s ex-wife and children—his passion turns sinister, ultimately threatening all around him. Written in a circuitous style that keeps you guessing until the end, The Parting Gift is an erotic page-turner and a shrewd exploration of the roles men assume, or are forced to assume, as lovers, as fathers, as Israelis, as Palestinians. “Intricate and complex . . . beautifully and tenderly told.” —Imbolo Mbue, New York Times bestselling author of Behold the Dreamers
NY Times bestselling author's new series chronicling the separation of families during the New Order/Old Order split in the Amish community in Lancaster County, PA.
Madhu Natisar Nath is a Rajasthani farmer with no formal schooling. He is also a singer, a musician, and a storyteller. At the center of A Carnival of Parting are Madhu Nath's oral performances of two linked tales about the legendary Indian kings, Bharthari of Ujjain and Gopi Chand of Bengal. Both characters, while still in their prime, leave thrones and families to be initiated as yogis—a process rich in adventure and melodrama, one that offers unique insights into popular Hinduism's view of world renunciation. Ann Grodzins Gold presents these living oral epic traditions as flowing narratives, transmitting to Western readers the pleasures, moods, and interactive dimensions of a village bard's performance. Three introductory chapters and an interpretive afterword, together with an appendix on the bard's language by linguist David Magier, supply A Carnival of Parting with a full range of ethnographic, historical, and cultural backgrounds. Gold gives a frank and engaging portrayal of the bard Madhu Nath and her work with him. The tales are most profoundly concerned, Gold argues, with human rather than divine realities. In a compelling afterword, she highlights their thematic emphases on politics, love, and death. Madhu Nath's vital colloquial telling of Gopi Chand and Bharthari's stories depicts renunciation as inevitable and interpersonal attachments as doomed, yet celebrates human existence as a "carnival of parting."
A compilation of prose and poetry on the seam of Death and Dying - Personal experiences and reflections, compiled by Penny Barham, which give a touching and sensitive account of how those we love bequeath us the most precious gifts, or indeed the legacy we see for ourselves when faced with our own mortality
Este libro supone una invitación para descubrir la cultura y la literatura mormonas desde una perspectiva muy personal, así como un viaje fascinante al territorio literario de Phyllis Barber, una vasta extensión de un terreno físico y emocional donde los límites se entrecruzan y el tiempo teje nidos que trascienden la narrativa. Ángel Chaparro analiza el proyecto social y cultural de la ficción y las autobiografías de Phyllis Barber; examina la influencia de la cultura mormona, del paisaje del Oeste americano y de los acontecimientos históricos en su escritura; y trata de anticipar el espacio que sus libros ocupan en el desarrollo en curso de la literatura mormona y de la cultura del Oeste americano. Este original análisis va precedido de una historia de La Iglesia de Jesucristo de los Santos de los Últimos Días.