An examination of the ways major novels by Marcel Proust, James Joyce, and Virginia Woolf draw attention to their embodiment in the object of the book, The Death of the Book considers how bookish format plays a role in some of the twentieth century’s most famous literary experiments. Tracking the passing of time in which reading unfolds, these novels position the book’s so-called death in terms that refer as much to a simple description of its future vis-à-vis other media forms as to the sense of finitude these books share with and transmit to their readers. As he interrogates the affective, physical, and temporal valences of literature’s own traditional format and mode of access, John Lurz shows how these novels stage intersections with the phenomenal world of their readers and develop a conception of literary experience not accounted for by either rigorously historicist or traditionally formalist accounts of the modernist period. Bringing together issues of media and mediation, book history, and modernist aesthetics, The Death of the Book offers a new and deeper understanding of the way we read now.
Following the death of her father, journalist and hospice volunteer Ann Neumann sets out to examine what it means to die well in the United States. When Ann Neumann’s father was diagnosed with non-Hodgkin’s lymphoma, she left her job and moved back to her hometown of Lancaster, Pennsylvania. She became his full-time caregiver—cooking, cleaning, and administering medications. When her father died, she was undone by the experience, by grief and the visceral quality of dying. Neumann struggled to put her life back in order and found herself haunted by a question: Was her father’s death a good death? The way we talk about dying and the way we actually die are two very different things, she discovered, and many of us are shielded from what death actually looks like. To gain a better understanding, Neumann became a hospice volunteer and set out to discover what a good death is today. She attended conferences, academic lectures, and grief sessions in church basements. She went to Montana to talk with the attorney who successfully argued for the legalization of aid in dying, and to Scranton, Pennsylvania, to listen to “pro-life” groups who believe the removal of feeding tubes from some patients is tantamount to murder. Above all, she listened to the stories of those who were close to death. What Neumann found is that death in contemporary America is much more complicated than we think. Medical technologies and increased life expectancies have changed the very definition of medical death. And although death is our common fate, it is also a divisive issue that we all experience differently. What constitutes a good death is unique to each of us, depending on our age, race, economic status, culture, and beliefs. What’s more, differing concepts of choice, autonomy, and consent make death a contested landscape, governed by social, medical, legal, and religious systems. In these pages, Neumann brings us intimate portraits of the nurses, patients, bishops, bioethicists, and activists who are shaping the way we die. The Good Death presents a fearless examination of how we approach death, and how those of us close to dying loved ones live in death’s wake.
Experts in end-of-life care tell us that we should talk about death and dying with relatives and friends, but how do we get such conversations off the ground in a society that historically has avoided the topic? This book provides one example of such a conversation. The coauthors take up challenging questions about pain, caregiving, grief, and what comes after death. Their unlikely collaboration is itself connected to death: the murders of two of Irene's closest friends and Steve's support in perpetuating memories of those friends' lives and not just their violent ends. The authors share the results of a no-holds-barred discussion they conducted for several years over email. Readers can consider a range of views on complicated issues to which there are no right answers. Letting ourselves pose certain questions has the potential to profoundly change the way we think about death, how we choose to die, and, just as importantly, the way we live. Honest, probing, sensitive, and even humorous at times, the completely open discussions in this book will help readers deal with a topic that most of us try to avoid but that everyone will face eventually.
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.
There is one thing we can be sure of: we are all going to die. But once we accept that fact, the questions begin. In this thought-provoking book, philosophy professor Shelly Kagan examines the myriad questions that arise when we confront the meaning of mortality. Do we have reason to believe in the existence of immortal souls? Should we accept an account according to which people are just material objects, nothing more? Can we make sense of the idea of surviving the death of one's body? If I won't exist after I die, can death truly be bad for me? Would immortality be desirable? Is fear of death appropriate? Is suicide ever justified? How should I live in the face of death? Written in an informal and conversational style, this stimulating and provocative book challenges many widely held views about death, as it invites the reader to take a fresh look at one of the central features of the human condition—the fact that we will die.
The history of Mexico's fearless intimacy with death--the elevation of death to the center of national identity. Death and the Idea of Mexico is the first social, cultural, and political history of death in a nation that has made death its tutelary sign. Examining the history of death and of the death sign from sixteenth-century holocaust to contemporary Mexican-American identity politics, anthropologist Claudio Lomnitz's innovative study marks a turning point in understanding Mexico's rich and unique use of death imagery. Unlike contemporary Europeans and Americans, whose denial of death permeates their cultures, the Mexican people display and cultivate a jovial familiarity with death. This intimacy with death has become the cornerstone of Mexico's national identity. Death and Idea of Mexico focuses on the dialectical relationship between dying, killing, and the administration of death, and the very formation of the colonial state, of a rich and variegated popular culture, and of the Mexican nation itself. The elevation of Mexican intimacy with death to the center of national identity is but a moment within that history--within a history in which the key institutions of society are built around the claims of the fallen. Based on a stunning range of sources--from missionary testimonies to newspaper cartoons, from masterpieces of artistic vanguards to accounts of public executions and political assassinations--Death and the Idea of Mexico moves beyond the limited methodology of traditional historiographies of death to probe the depths of a people and a country whose fearless acquaintance with death shapes the very terms of its social compact.
Not only an artistic and breathtaking view of Lancre but also an interesting and informative guide to one of the Discworld's more, er, picturesque kingdoms. Granny Weatherwax, Nanny Ogg and Magrat Garlick live there. Lancre could hardly be somwhere ordinary, could it? Magic glues the Discworld together and a lot of it ends up in Lancre, principal Kingdom of the Ramtop Mountains. Between Uberwald and Whale Bay, the Octarine Grass Country and the Windersins Ocean lies the most exciting and dangerous terrain in all Discworld. The Ramtops supply Discworld with most of its witches and wizards. The leaves on the trees move even when there is no breeze. Rocks go for a stroll in the evening. Even the land, at times, seems alive. The mapp may be only two-dimensional, but watch it very carefully and you might just see it jostle about a bit.
Did you know that American burial traditions include aerial burial, in which the body is placed in tree branches? Have you ever wondered which religions believe in afterlife or reincarnation? Ever been curious about exactly what the embalming process entails? The answers all lie in R.I.P.: The Complete Book of Death & Dying by Constance Jones. Reminding us that almost no subject in the world elicits such universal fascination as death, Jones has masterfully collected information from diverse sources to explore, illuminate, demystify and enrich our understanding of the myriad issues related to death and dying. Publishers Weekly has praised Jones' approach as "clear-sighted" and "fearlessly inquisitive" and calls R.I.P.: The Complete Book of Death & Dying "invaluable and oddly uplifting." The book is divided into two parts and is equipped with a resource list of organizations, a bibliography and an index. "Part One" explores the cultural dimensions of death and dying, with chapters and sections on myths and legends explaining death, cultural traditions, the scientific study of death, demographic statistics, funerary customs, religious beliefs and historical anecdotes. Jones provides wide-ranging, informative, and occasionally humorous material that is thoughtfully and clearly organized. Topics covered include descriptions of the physiological changes at the moment of death, a history of cremation, and summaries of legal and ethical issues associated with death, such as capital punishment, euthanasia and suicide.