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A series of letters on the death of the speaker's father that investigate loss and language's limits and ability to transcend our temporal lives
A masterful work of personal reportage, this volume is also a vibrant portrait of a mysterious people and an essential document of a disappearing culture. Fabled, feared, romanticized, and reviled, the Gypsies—or Roma—are among the least understood people on earth. Their culture remains largely obscure, but in Isabel Fonseca they have found an eloquent witness. In Bury Me Standing, alongside unforgettable portraits of individuals—the poet, the politician, the child prostitute—Fonseca offers sharp insights into the humor, language, wisdom, and taboos of the Roma. She traces their exodus out of India 1,000 years ago and their astonishing history of persecution: enslaved by the princes of medieval Romania; massacred by the Nazis; forcibly assimilated by the communist regimes; evicted from their settlements in Eastern Europe, and most recently, in Western Europe as well. Whether as handy scapegoats or figments of the romantic imagination, the Gypsies have always been with us—but never before have they been brought so vividly to life. Includes fifty black and white photos.
You can't keep a dead doll down in this creepy new novel from the author of The Collector. Some dolls never die.No one ever leaves Copper Hollow. It's a town with a deadly history . . . but nobody ever talks about it.Kimberly thinks there might be something strange going on. She's not sure what - until the menacing doll appears with two words written across its clothes:BURY MEKimberly and her friends try to destroy the doll . . . but every time they think it's gone, it comes back again. Is there any way to rid themselves of the evil once and for all?
On her way to Hawaii for a week of fun, Jean witnesses the death of Mike--the boy sitting beside her on the plane--and suffers a vacation of terror when his corpse continues to turn up on the Hawaiian islands.
Warm funny illustrations that make this the perfect treat for any book lover.
When Chabani Manganyi published the first edition of selected letters twenty-five years ago as a companion volume to Exiles and Homecomings: A Biography of Es’kia Mphahlele, the idea of Mphahlele’s death was remote and poetic. The title, Bury Me at the Marketplace, suggested that immortality of a kind awaited Mphahlele, in the very coming and going of those who remember him and whose lives he touched. It suggested, too, the energy and magnanimity of Mphahlele, the man, whose personality and intellect as a writer and educator would carve an indelible place for him in South Africa’s public sphere. That death has now come and we mourn it. Manganyi’s words at the time have acquired a new significance: in the symbolic marketplace, he noted, ‘the drama of life continues relentlessly and the silence of death is unmasked for all time’. The silence of death is certainly unmasked in this volume, in its record of Mphahlele’s rich and varied life: his private words, his passions and obsessions, his arguments, his loves, hopes, achievements, and yes, even some of his failures. Here the reader will find many facets of the private man translated back into the marketplace of public memory. Despite the personal nature of the letters, the further horizons of this volume are the contours of South Africa’s literary and cultural history, the international affiliations out of which it has been formed, particularly in the diaspora that connects South Africa to the rest of the African continent and to the black presence in Europe and the United States. This selection of Mphahlele’s own letters has been greatly expanded; it has also been augmented by the addition of letters from Mphahlele’s correspondents, among them such luminaries as Langston Hughes and Nadine Gordimer. It seeks to illustrate the networks that shaped Mphahlele’s personal and intellectual life, the circuits of intimacy, intellectual inquiry, of friendship, scholarship and solidarity that he created and nurtured over the years. The letters cover the period from November 1943 to April 1987, forty-four of Mphahlele’s mature years and most of his active professional life. The correspondence is supplemented by introductory essays from the two editors, by two interviews conducted with Mphahlele by Manganyi and by Attwell’s insightful explanatory notes.
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This is the second voplume of my poetry, the first being a compilation of my love poems. This compilation is of all my general poetry, to be enjoyed by all who read them!