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Set in Nashville, Memphis, New Orleans, and Ottawa, Ontario, the stories in The Museum at the End of the World span the life of writer Robert Ford and his wife Sheila. Playing with various forms of comedy throughout, author John Metcalf paints a portrait of 20th century literary life with levity, satire, and unsuspecting moments of emotional depth.
Now in paperback, this collection of bold and scathingly beautiful feminist poems imagines what comes after our current age of environmental destruction, racism, sexism, and divisive politics. Informed as much by Brenda Shaughnessy's worst fears as a mother as they are by her superb craft as a poet, the poems in The Octopus Museum blaze forth from her pen: in these pages, we see that what was once a generalized fear for our children is now hyper-reasonable, specific, and multiple: school shootings, nuclear attack, loss of health care, a polluted planet. As Shaughnessy conjures our potential future, she movingly (and often with humor) envisions an age where cephalopods might rule over humankind, a fate she suggests we may just deserve after destroying their oceans. These heartbreaking, terrified poems are the battle cry of a woman who is fighting for the survival of the world she loves, and a stirring exhibition of who we are as a civilization.
How the billionaire owners of Hobby Lobby are spending hundreds of millions of dollars to make America a “Bible nation” The Greens of Oklahoma City—the billionaire owners of the Hobby Lobby chain of craft stores—are spending hundreds of millions of dollars in an ambitious effort to increase the Bible’s influence on American society. In Bible Nation, Candida Moss and Joel Baden provide the first in-depth investigative account of the Greens’ sweeping Bible projects. Moss and Baden tell the story of the Greens’ efforts to place a Bible curriculum in public schools; their rapid acquisition of an unparalleled collection of biblical antiquities; their creation of a closely controlled group of scholars to study and promote the collection; and their construction of a $500 million Museum of the Bible in Washington, D.C. Revealing how all these initiatives promote a very particular set of beliefs about the Bible, the book raises serious questions about the trade in biblical antiquities, the integrity of academic research, and the place of private belief in public life.
For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful account of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that have played out in them. Harris begins with the British public’s first encounter with Tibetan culture in 1854. She then examines the role of imperial collectors and photographers in representations of the region and visits competing museums of Tibet in India and Lhasa. Drawing on fieldwork in Tibetan communities, she also documents the activities of contemporary Tibetan artists as they try to displace the utopian visions of their country prevalent in the West, as well as the negative assessments of their heritage common in China. Illustrated with many previously unpublished images, this book addresses the pressing question of who has the right to represent Tibet in museums and beyond.
The story of the Museum of the Second World War in Gdańsk epitomizes one of the most important and dramatic clashes in the European culture of memory and public history in last decades. The museum became the arch-enemy for the nationalist right-wing as “cosmopolitan”, “pseudo-universalistic”, “pacifistic” and “not Polish enough”. Paweł Machcewicz, historian and museum`s founding director, was removed from his position by the Law and Justice government immediately after opening the museum to the public. In his book he presents this story as a part of cultural wars that tear apart not only Poland but also many countries in Europe and on other continents.
Museum of Nonhumanity is the catalogue for a full-size touring museum that presents the history of the distinction between humans and animals, and the way that this artificial boundary has been used to oppress human and nonhuman beings over long historical periods. Throughout history, declaring a group to be nonhuman or subhuman has been an effective tool for justifying slavery, oppression, medical experimentation, genocide, and other forms of violence against those deemed "other." Conversely, differentiating humans from other species has paved the way for the abuse of natural resources and other animals. Museum of Nonhumanity approaches animalization as a nexus that connects xenophobia, sexism, racism, transphobia, and the abuse of nature and other animals. The touring museum hosts lecture programs in which local civil rights and animal rights organizations, academics, artists, and activists propose paths to a more inclusive society through intersectional approaches. The museum also hosts a pop-up book shop and a vegan café. As a temporary, utopian institution, Museum of Nonhumanity stands as a monument to the call to make animalization history.
A dazzling novel—set in early 1970's New York and rural India—the story of a turbulent, unlikely romance, a harrowing account of the lasting horrors of World War II, and a searing examination of one man's search for forgiveness and acceptance. “Looks deeply at the echoes and overlaps among art, resistance, love, and history ... an impressive debut.” —Meg Wolitzer, best-selling author of The Female Persuasion New York City, 1972. Jaryk Smith, a survivor of the Warsaw Ghetto, and Lucy Gardner, a southerner, newly arrived in the city, are in the first bloom of love when they receive word that Jaryk's oldest friend has died under mysterious circumstances in a rural village in eastern India. Travelling there alone to collect his friend's ashes, Jaryk soon finds himself enmeshed in the chaos of local politics and efforts to stage a play in protest against the government—the same play that he performed as a child in Warsaw as an act of resistance against the Nazis. Torn between the survivor's guilt he has carried for decades and his feelings for Lucy (who, unbeknownst to him, is pregnant with his child), Jaryk must decide how to honor both the past and the present, and how to accept a happiness he is not sure he deserves. An unforgettable love story, a provocative exploration of the role of art in times of political upheaval, and a deeply moving reminder of the power of the past to shape the present, A Play for the End of the World is a remarkable debut from an exciting new voice in fiction.
This 1995 Whitbread Book of the Year paints a rich, vivid portrait of heartbreak and happiness, recounting the story of Ruby Lennox, a narrator who will leave no stone unturned in her account of family life above a pet shop in England. "A poignant and beautifully wrought portrait of a young girl's growth".--"Seattle Times".
The visionary nature of the Apocalypse—the biblical book of Revelation—along with its detailed descriptions of the end of the world have long made it ideal for illustration. Illuminated texts of the Apocalypse were particularly popular in thirteenth-century England, and the copy in the collections of the J. Paul Getty Museum, with its lively narrative miniatures, stands as a testament to the artistic heights achieved during that period. In this richly illustrated book, all eighty-two of the manuscript's images are reproduced in color for the first time. They are accompanied by a full commentary. A general introduction to the history of thirteenth-century English illustrated Apocalypse manuscripts is followed by a succinct study of the artistic context of the Getty's manuscript, as well as a consideration of its style and date. The rest of the commentary is devoted to a stylistic and iconographic analysis of the manuscript's images; there is also a complete translation of the text.
"A fascinating, revelatory portrait of the Metropolitan Museum of Art and its treasures by a former New Yorker staffer who spent a decade as a museum guard"--