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The essays in this book explore the critical possibilities that have been opened by Veena Das’s work. Taking off from her writing on pain as a call for acknowledgment, several essays explore how social sciences render pain, suffering, and the claims of the other as part of an ethics of responsibility. They search for disciplinary resources to contest the implicit division between those whose pain receives attention and those whose pain is seen as out of sync with the times and hence written out of the historical record. Another theme is the co-constitution of the event and the everyday, especially in the context of violence. Das’s groundbreaking formulation of the everyday provides a frame for understanding how both violence and healing might grow out of it. Drawing on notions of life and voice and the struggle to write one’s own narrative, the contributors provide rich ethnographies of what it is to inhabit a devastated world. Ethics as a form of attentiveness to the other, especially in the context of poverty, deprivation, and the corrosion of everyday life, appears in several of the essays. They take up the classic themes of kinship and obligation but give them entirely new meaning. Finally, anthropology’s affinities with the literary are reflected in a final set of essays that show how forms of knowing in art and in anthropology are related through work with painters, performance artists, and writers.
The first treaty that was made was between the earth and the sky. It was an agreement to work together. We build all of our treaties on that original treaty. On the banks of the river that have been Mishomis’s home his whole life, he teaches his granddaughter to listen—to hear both the sounds and the silences, and so to learn her place in Creation. Most importantly, he teaches her about treaties—the bonds of reciprocity and renewal that endure for as long as the sun shines, the grass grows, and the rivers flow. Accompanied by beautiful illustrations by Luke Swinson and an author’s note at the end, Aimée Craft affirms the importance of understanding an Indigenous perspective on treaties in this evocative book that is essential for readers of all ages.
This simple, profound, Caldecott Honor story is now available as a Classic Board Book. All the world is here. It is there. It is everywhere. All the world is right where you are. Now. Following a circle of family and friends through the course of a day from morning until night, this book affirms the importance of all things great and small in our world, from the tiniest shell on the beach, to the warmth of family connections, to the widest sunset sky. Now available as a Classic Board Book, this Caldecott Honor picture book written by Liz Garton Scanlon and illustrated by Marla Frazee is perfect for the youngest of readers.
The nation's premier communications expert shares his wisdom on how the words we choose can change the course of business, of politics, and of life in this country In Words That Work, Luntz offers a behind-the-scenes look at how the tactical use of words and phrases affects what we buy, who we vote for, and even what we believe in. With chapters like "The Ten Rules of Successful Communication" and "The 21 Words and Phrases for the 21st Century," he examines how choosing the right words is essential. Nobody is in a better position to explain than Frank Luntz: He has used his knowledge of words to help more than two dozen Fortune 500 companies grow. Hell tell us why Rupert Murdoch's six-billion-dollar decision to buy DirectTV was smart because satellite was more cutting edge than "digital cable," and why pharmaceutical companies transitioned their message from "treatment" to "prevention" and "wellness." If you ever wanted to learn how to talk your way out of a traffic ticket or talk your way into a raise, this book's for you.
Understand how Einstein came to write the most famous equation in history and see how the world was changed forever.Broken into 10 bite-sized chapters, this step-by-step journey through Einstein's mind takes his original manuscripts and makes them accessible to budding scientists everywhere.
In The Ways of the Word, Garrett Stewart steps aside from theory to focus on the sheer pleasure of attentive reading and the excitement of recognizing the play of syllables and words upon which the best literary writing is founded. Emerging out of teaching creative writing and a broader effort to convene writers and critics, Stewart's "episodes in verbal attention" track the means to meaning through the byways of literary wording. Through close engagement with literary passages and poetic instances whose imaginative demands are their own reward, Stewart gathers exhibits from dozens of authors: from Dickinson, Dickens, and DeLillo to Whitman, Woolf, and Colson Whitehead. In the process, idiom, tense, etymology, and other elements of expressive language and its phonetic wordplay are estranged and heard anew. The Ways of the Word fluidly and intuitively reveals a verbal alchemy that is as riveting as it is elusive and mysterious.
What is this World? What kind of place is it? "The round kind. The spinning kind. The moist kind. The inhabited kind. The kind with flamingos (real and artificial). The kind where water in the sky turns into beautifully symmetrical crystal flakes sculpted by artists unable to stop themselves (in both design and quantity). The kind of place with tiny, powerfully jawed mites assigned to the carpets to eat my dead skin as it flakes off. The kind with people who kill and people who love and people who do both... "This world is beautiful but badly broken." "I love it as it is, because it is a story, and it isn't stuck in one place. It is full of conflict and darkness like every good story, a world of surprises and questions to explore. And there's someone behind it; there are uncomfortable answers to the how's and whys and what's. In the beginning was the Word, and the Word was with God, and the Word was God. Through Him were all things made... Welcome to His poem. His play. His novel. Let the pages flick your thumbs."
Taking a novel approach to the contradictory impulses of violence and care, illness and healing, this book radically shifts the way we think of the interrelations of institutions and experiences in a globalizing world. Living and Dying in the Contemporary World is not just another reader in medical anthropology but a true tour de forceÑa deep exploration of all that makes life unbearable and yet livable through the labor of ordinary people. This book comprises forty-four chapters by scholars whose ethnographic and historical work is conducted around the globe, including South Asia, East Asia, Latin America, Africa, the Middle East, Europe, and the United States. Bringing together the work of established scholars with the vibrant voices of younger scholars, Living and Dying in the Contemporary World will appeal to anthropologists, sociologists, health scientists, scholars of religion, and all who are curious about how to relate to the rapidly changing institutions and experiences in an ever more connected world. Ê
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Yes, it’s true: you can learn how to be a verbal wizard! Ever hear someone utter an unforgettable phrase and feel yourself reacting with with…well, awe? Ever read a great quote and think I could never come up with anything that clever? Daunting as it may seem, there’s nothing mystical about witcraft. Crafting memorable lines doesn’t require DNA-encoded brilliance. What it does require is some knowledge of the tricks and techniques that make words stick. In Word Hero, Jay Heinrichs rescues the how-to of verbal artistry from cobwebbed textbooks and makes it entirely fresh– even a little mischievous. Fear not: on offer here are not dry, abstract ideas couched in academic jargon. Rather, Heinrichs takes you on an amusing – and amazingly helpful – tour of the mechanisms that make powerful language work. You’ll learn how to slyly plant your words in people’s heads and draw indelible verbal pictures by employing such tools as “crashing symbols,” “rapid repeaters,” “Russian Dolls” and even the powers of Mr. Potato Head. With those tools and others tucked in your utility belt, you might not immediately achieve “wordsmith immortality” but you will become a better speaker, writer, and raconteur…and long after people have forgotten everything else, they’ll remember your priceless lines.