This book gives an intimate first-hand account of a courageouswoman s spiritual quest in close association with several of India sgreatest modern saints. Unfolding against the back-drop of Benaresin the 1940s, where she lived as a teacher and musician, we aregiven an in-depth picture of her intense relationship with theextraordinary woman who becomes her guru 3 the great Bengalimystic, Sri Anandamayee Ma. Atmananda, as she came to be known,was also closely associated with J. Krishnamurti, but she was drawndeeper into the heart of Indian spirituality, encountering Sri RamanaMaharshi at his ashram in South India in 1942 and ultimately comingto Anandamayee Ma.Although written in a diary format, her story reads almost like anovel. A rare record of a remarkable spiritual odyssey.
Investigates a variety of texts in which the self-image of poor, urban black men in the U.S. is formed within, by, and against a culture of racial terror and state violence. In If We Must Die: From Bigger Thomas to Biggie Smalls, author Aimé J. Ellis argues that throughout slavery, the Jim Crow era, and more recently in the proliferation of the prison industrial complex, the violent threat of death has functioned as a coercive disciplinary practice of social control over black men. In this provocative volume, Ellis delves into a variety of literary and cultural texts to consider unlawful and extralegal violence like lynching, mob violence, and "white riots," in addition to state violence such as state-sanctioned execution, the unregulated use of force by police and prison guards, state neglect or inaction, and denial of human and civil rights. Focusing primarily on young black men who are depicted or see themselves as "bad niggers," gangbangers, thugs, social outcasts, high school drop-outs, or prison inmates, Ellis looks at the self-affirming embrace of deathly violence and death—defiance-both imagined and lived-in a diverse body of cultural works. From Richard Wright's literary classic Native Son, Eldridge Cleaver's prison memoir Soul on Ice, and Nathan McCall's autobiography Makes Me Wanna Holler to the hip hop music of Eazy-E, Tupac Shakur, Notorious B.I.G., and D'Angelo, Ellis investigates black men's representational identifications with and attachments to death, violence, and death—defiance as a way of coping with and negotiating late-twentieth and early twenty-first century culture. Distinct from a sociological study of the material conditions that impact urban black life, If We Must Die investigates the many ways that those material conditions and lived experiences profoundly shape black male identity and self-image. African Amerian studies scholars and those interested in race in contemporary American culture will appreciate this thought-provoking volume.
Part memento mori for architecture, and part invocation to reimagine the design values that lay at the heart of its creative purpose. Buildings, although inanimate, are often assumed to have "life." And the architect, through the act of design, is assumed to be their conceiver and creator. But what of the "death" of buildings? What of the decay, deterioration, and destruction to which they are inevitably subject? And what might such endings mean for architecture's sense of itself? In Buildings Must Die, Stephen Cairns and Jane Jacobs look awry at core architectural concerns. They examine spalling concrete and creeping rust, contemplate ruins old and new, and pick through the rubble of earthquake-shattered churches, imploded housing projects, and demolished Brutalist office buildings. Their investigation of the death of buildings reorders architectural notions of creativity, reshapes architecture's preoccupation with good form, loosens its vanities of durability, and expands its sense of value. It does so not to kill off architecture as we know it, but to rethink its agency and its capacity to make worlds differently. Cairns and Jacobs offer an original contemplation of architecture that draws on theories of waste and value. Their richly illustrated case studies of building "deaths" include the planned and the unintended, the lamented and the celebrated. They take us from Moline to Christchurch, from London to Bangkok, from Tokyo to Paris. And they feature the work of such architects as Eero Saarinen, Carlo Scarpa, Cedric Price, Arata Isozaki, Rem Koolhaas and François Roche. Buildings Must Die is both a memento mori for architecture and a call to to reimagine the design values that lay at the heart of its creative purpose.
MACHINE OF DEATH tells thirty-four different stories about people who know how they will die. Prepare to have your tears jerked, your spine tingled, your funny bone tickled, your mind blown, your pulse quickened, or your heart warmed. Or better yet, simply prepare to be surprised. Because even when people do have perfect knowledge of the future, there's no telling exactly how things will turn out.
Today, foreigners travel to the Yucatan for ruins, temples, and pyramids, white sand beaches and clear blue water. One hundred years ago, they went for cheap labor, an abundance of land, and the opportunity to make a fortune exporting cattle, henequen fiber, sugarcane, or rum. Sometimes they found death. In 1875 an American plantation manager named Robert Stephens and a number of his workers were murdered by a band of Maya rebels. To this day, no one knows why. Was it the result of feuding between aristocratic families for greater power and wealth? Was it the foreseeable consequence of years of oppression and abuse of Maya plantation workers? Was a rebel leader seeking money and fame--or perhaps retribution for the loss of the woman he loved? For whites, the events that took place at Xuxub, Stephens's plantation, are virtually unknown, even though they engendered a diplomatic and legal dispute that vexed Mexican-U.S. relations for over six decades. The construction of "official" histories allowed the very name of Xuxub to die, much as the plantation itself was subsumed by the jungle. For the Maya, however, what happened at Xuxub is more than a story they pass down through generations--it is a defining moment in how they see themselves. Sullivan masterfully weaves the intricately tangled threads of this story into a fascinating account of human accomplishments and failings, in which good and evil are never quite what they seem at first, and truth proves to be elusive. Xuxub Must Die seeks not only to fathom a mystery, but also to explore the nature of guilt, blame, and understanding.
On the outside, twenty-eight-year-old Fiona Yu appears to be just another Hello Kitty--an educated, well-mannered Asian American woman. Secretly, she feels torn between the traditional Chinese values of her family and the social mores of being an American girl. To escape the burden of carrying her family's honor, Fiona decides to take her own virginity. In the process, she makes a surprising discovery that reunites her with a long-lost friend, Sean Killroy. Sean introduces her to a dark world of excitement, danger, cunning, and cruelty, pushing her to the limits of her own morality. But Fiona's father throws her new life into disarray when he dupes her into an overnight trip that results in a hasty engagement to Don Koo, the spoiled son of a wealthy chef. Determined to thwart her parents' plans to marry her off into Asian suburbia, Fiona seeks her freedom at any price. How far will she go to bury the Hello Kitty stereotype forever? Fiona's journey of self-discovery is biting and clever as she embraces her true nature and creates her own version of the American Dream, eliminating--without fear or remorse--anyone who stands in her way.
'All men must die': or 'Valar Morghulis', as the traditional Essos greeting is rendered in High Valyrian. And die they do – in prodigious numbers; in imaginatively varied and gruesome ways; and often in terror within the viciously unpredictable world that is HBO's sensational evocation of Game of Thrones. Epic in scope and in imaginative breadth, the stories that are brought to life tell of the dramatic rise and fall of nations, the brutal sweeping away of old orders and the advent of new autarchs in the eternal quest for dominion. Yet, as this book reveals, many potent and intimate narratives of love and passion can be found within these grand landscapes of heroism, honour and death. They focus on strong relationships between women and family, as well as among the anti-heroes, the 'cripples, bastards and broken things'. In this vital follow-up to Winter Is Coming (2015), acclaimed medievalist Carolyne Larrington explores themes of power, blood-kin, lust and sex in order to draw entirely fresh meanings out of the show of the century.
Adam Silvera reminds us that there’s no life without death and no love without loss in this devastating yet uplifting story about two people whose lives change over the course of one unforgettable day. #1 New York Times bestseller * 4 starred reviews * A School Library Journal Best Book of the Year * A Kirkus Best Book of the Year * A Booklist Editors' Choice * A Bustle Best YA Novel * A Paste Magazine Best YA Book * A Book Riot Best Queer Book * A Buzzfeed Best YA Book of the Year * A BookPage Best YA Book of the Year On September 5, a little after midnight, Death-Cast calls Mateo Torrez and Rufus Emeterio to give them some bad news: They’re going to die today. Mateo and Rufus are total strangers, but, for different reasons, they’re both looking to make a new friend on their End Day. The good news: There’s an app for that. It’s called the Last Friend, and through it, Rufus and Mateo are about to meet up for one last great adventure—to live a lifetime in a single day. In the tradition of Before I Fall and If I Stay, They Both Die at the End is a tour de force from acclaimed author Adam Silvera, whose debut, More Happy Than Not, the New York Times called “profound.” Plus don't miss The First to Die at the End: #1 New York Times bestselling author Adam Silvera returns to the universe of international phenomenon They Both Die at the End in this prequel. New star-crossed lovers are put to the test on the first day of Death-Cast’s fateful calls.
A CIA prodigy's cover is blown when he accidentally becomes an internet sensation in #Prettyboy Must Die, Kimberly Reid's fun, fast thriller inspired by the #Alexfromtarget story and perfect for fans of Alex Rider. When Peter Smith’s classmate snaps a picture of him during a late night run at the track, Peter thinks he might be in trouble. When she posts that photo—along with the caption, “See the Pretty Boy Run,”—Peter knows he’s in trouble. But when hostiles drop through the ceiling of his 6th period Chem Class, Peter’s pretty sure his trouble just became a national emergency. Because he’s not really Peter Smith. He’s Jake Morrow, former foster-kid turned CIA operative. After a massive screw-up on his first mission, he's on a pity assignment, a dozen hit lists and now, social media, apparently. As #Prettyboy, of all freaking things. His cover’s blown, his school’s under siege, and if he screws up now, #Prettyboy will become #Deadboy faster than you can say, 'fifteen minutes of fame.' Trapped in a high school with rabid killers and rabid fans, he’ll need all his training and then some to save his job, his school and, oh yeah, his life. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
