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Haunting black and white photographs of moths, beetles and butterflies, presented alongside an essay by the artist.
A collection of photographs from the burial grounds of Europe explores the beauty of cemeteries and the emotions the survivors of the dead placed into the making of the tombs.
When Crusader armies on their way to the Holy Land attacked Jewish communities in the Rhine Valley, many Jews chose suicide over death at the hands of Christian mobs. With their defiant deaths, the medieval Jewish martyr was born. With the literary commemoration of the victims, Jewish martyrology followed. Beautiful Death examines the evolution of a long-neglected corpus of Hebrew poetry, the laments reflecting the specific conditions of Jewish life in northern France. The poems offer insight into everyday life and into the ways medieval French Jews responded to persecution. They also suggest that poetry was used to encourage resistance to intensifying pressures to convert. The educated Jewish elite in northern France was highly acculturated. Their poetry--particularly that emerging from the innovative Tosafist schools--reflects their engagement with the vernacular renaissance unfolding around them, as well as conscious and unconscious absorption of Christian popular beliefs and hagiographical conventions. At the same time, their extraordinary poems signal an increasingly harsh repudiation of Christianity's sacred symbols and beliefs. They reveal a complex relationship to Christian culture as Jews internalized elements of medieval culture even while expressing a powerful revulsion against the forms and beliefs of Christian life. This gracefully written study crosses traditional boundaries of history and literature and of Jewish and general medieval scholarship. Focusing on specific incidents of persecution and the literary commemorations they produced, it offers unique insights into the historical conditions in which these poems were written and performed.
A moving reflection on a subject that touches us all, by the bestselling author of Claire of the Sea Light Edwidge Danticat’s The Art of Death: Writing the Final Story is at once a personal account of her mother dying from cancer and a deeply considered reckoning with the ways that other writers have approached death in their own work. “Writing has been the primary way I have tried to make sense of my losses,” Danticat notes in her introduction. “I have been writing about death for as long as I have been writing.” The book moves outward from the shock of her mother’s diagnosis and sifts through Danticat’s writing life and personal history, all the while shifting fluidly from examples that range from Gabriel García Márquez’s One Hundred Years of Solitude to Toni Morrison’s Sula. The narrative, which continually circles the many incarnations of death from individual to large-scale catastrophes, culminates in a beautiful, heartrending prayer in the voice of Danticat’s mother. A moving tribute and a work of astute criticism, The Art of Death is a book that will profoundly alter all who encounter it.
If any anthropologist living today can illuminate our dim understanding of death’s enigma, it is Robert Desjarlais. With Subject to Death, Desjarlais provides an intimate, philosophical account of death and mourning practices among Hyolmo Buddhists, an ethnically Tibetan Buddhist people from Nepal. He studies the death preparations of the Hyolmo, their specific rituals of grieving, and the practices they use to heal the psychological trauma of loss. Desjarlais’s research marks a major advance in the ethnographic study of death, dying, and grief, one with broad implications. Ethnologically nuanced, beautifully written, and twenty-five years in the making, Subject to Death is an insightful study of how fundamental aspects of human existence—identity, memory, agency, longing, bodiliness—are enacted and eventually dissolved through social and communicative practices.
The Peruvian Nobel laureate presents a collection of essays on the decline of intellectual life in the age of media spectacle. In the past, culture was a kind of vital consciousness that constantly rejuvenated and revivified everyday reality. Now it is largely a mechanism of distraction and entertainment. Notes on the Death of Culture is an examination and indictment of this transformation—penned by Mario Vargas Llosa, who is not only one of our finest novelists but one of the keenest social critics. Taking his cues from T.S. Eliot—whose essay “Notes Toward a Definition of Culture” is a touchstone precisely because the culture Eliot aimed to describe has since vanished—Vargas Llosa traces a decline whose ill effects have only just begun. He mourns, in particular, the figure of the intellectual: for most of the twentieth century, men and women of letters drove political, aesthetic, and moral conversations; today they have all but disappeared from public debate. But Vargas Llosa stubbornly refuses to fade into the background. A necessary gadfly, the Nobel laureate Vargas Llosa, here vividly translated by John King, provides a tough but essential critique of our time and culture.
What Does Dead Mean? is a beautifully illustrated book that guides children gently through 17 of the 'big' questions they often ask about death and dying. Questions such as 'Is being dead like sleeping?', 'Why do people have to die?' and 'Where do dead people go?' are answered simply, truthfully and clearly to help adults explain to children what happens when someone dies. Prompts encourage children to explore the concepts by talking about, drawing or painting what they think or feel about the questions and answers. Suitable for children aged 4+, this is an ideal book for parents and carers to read with their children, as well as teachers, therapists and counsellors working with young children.
In a strangely heart-warming story, a duck strikes up an unlikely friendship with Death. Death, Duck and the Tulip will intrigue, haunt and enchant readers of all ages. Simple, warm, and witty, this book deals with a difficult subject in a way that is elegant, straightforward, and life-affirming.
This book celebrates the great stripping process of aging, dying and spiritual awakening. Beautiful, poignant, at times humorous, transcendent, messy, down to earth, refreshingly honest--the book explores death, and more importantly, being alive, through a rich mix of personal stories and spiritual reflections. Joan writes about her mother's final years and about being with friends and teachers at the end of their lives. She shares her own journey with aging, anal cancer, and other life challenges. She explores what it means to be alive in what may be the collapse of civilization and the possible extinction of life on earth due to climate change. Pointing beyond deficiency stories, future fantasies, and oppressive self-improvement projects, Joan invites an awakening to the immediacy of this moment and the wonder of ordinary life. She demonstrates a pathless path of genuine transformation, seeing all of life as sacred and worthy of devotion, and finding joy in the full range of our human experience.
On July 9, 1975, Dutch-born artist Bas Jan Ader set sail from Chatham, Massachusetts, on a thirteen-foot sailboat. He was bound for Falmouth, England, on the second leg of a three-part piece titled In Search of the Miraculous. The damaged boat was found south of the western tip of Ireland nearly a year later. Ader was never seen again. Since his untimely death, Ader has achieved mythic status in the art world as a figure literally willing to die for his art. Considering the artist’s legacy and concise oeuvre beyond the romantic and tragic associations that accompany his peculiar end, Alexander Dumbadze resituates Ader’s art and life within the conceptual art world of Los Angeles in the early 1970s and offers a nuanced argument about artistic subjectivity that explains Ader’s tremendous relevance to contemporary art. Bas Jan Ader blends biography, theoretical reflection, and archival research to draw a detailed picture of the world in which Ader’s work was rooted: a vibrant international art scene populated with peers such as Ger van Elk, William Leavitt, and Allen Ruppersberg. Dumbadze looks closely at Ader’s engagement with questions of free will and his ultimate success in creating art untainted by mediation. The first in-depth study of this enigmatic conceptual artist, Bas Jan Ader is a thoughtful reflection on the necessity of the creative act and its inescapable relation to death.