News Of The Dead

LONGLISTED FOR THE WALTER SCOTT PRIZE FOR HISTORICAL FICTION 'To tell the story of a country or a continent is surely a great and complex undertaking; but the story of a quiet, unnoticed place where there are few people, fewer memories and almost no reliable records - a place such as Glen Conach - may actually be harder to piece together. The hazier everything becomes, the more whatever facts there are become entangled with myth and legend. . .' Deep in the mountains of north-east Scotland lies Glen Conach, a place of secrets and memories, fable and history. In particular, it holds the stories of three different eras, separated by centuries yet linked by location, by an ancient manuscript and by echoes that travel across time. In ancient Pictland, the Christian hermit Conach contemplates God and nature, performs miracles and prepares himself for sacrifice. Long after his death, legends about him are set down by an unknown hand in the Book of Conach. Generations later, in the early nineteenth century, self-promoting antiquarian Charles Kirkliston Gibb is drawn to the Glen, and into the big house at the heart of its fragile community. In the present day, young Lachie whispers to Maja of a ghost he thinks he has seen. Reflecting on her long life, Maja believes him, for she is haunted by ghosts of her own. News of the Dead is a captivating exploration of refuge, retreat and the reception of strangers. It measures the space between the stories people tell of themselves - what they forget and what they invent - and the stories through which they may, or may not, be remembered.

"Intriguing and captivating."—Celia Rees, author of Witch Child WRONGED. HANGED. ALIVE? (AND TRUE!) Anne can't move a muscle, can't open her eyes, can't scream. She lies immobile in the darkness, unsure if she'd dead, terrified she's buried alive, haunted by her final memory—of being hanged. A maidservant falsely accused of infanticide in 1650 England and sent to the scaffold, Anne Green is trapped with her racing thoughts, her burning need to revisit the events—and the man—that led her to the gallows. Meanwhile, a shy 18-year-old medical student attends his first dissection and notices something strange as the doctors prepare their tools . . . Did her eyelids just flutter? Could this corpse be alive? Beautifully written, impossible to put down, and meticulously researched, Newes from the Dead is based on the true story of the real Anne Green, a servant who survived a hanging to awaken on the dissection table. Newes from the Dead concludes with scans of the original 1651 document that recounts this chilling medical phenomenon. Newes from the Dead is a 2009 Bank Street - Best Children's Book of the Year.

PULITZER PRIZE FINALIST • From one of our most heralded writers comes the “poetic, disturbing, yet very funny” (The Washington Post Book World) life-and-death adventures of three misfit teenagers in the American desert. Alice, Corvus, and Annabel, each a motherless child, are an unlikely circle of friends. One filled with convictions, another with loss, the third with a worldly pragmatism, they traverse an air-conditioned landscape eccentric with signs and portents—from the preservation of the living dead in a nursing home to the presentation of the dead as living in a wildlife museum—accompanied by restless, confounded adults. A father lusts after his handsome gardener even as he's haunted (literally) by his dead wife; a heartbroken dog runs afoul of an angry neighbor; a young stroke victim drifts westward, his luck running from worse to awful; a sickly musician for whom Alice develops an attraction is drawn instead toward darker imaginings and solutions; and an aging big-game hunter finds spiritual renewal through his infatuation with an eight-year-old—the formidable Emily Bliss Pickless. With nature thoroughly routed and the ambiguities of existence on full display, life and death continue in directions both invisible and apparent. Gloriously funny and wonderfully serious, The Quick and the Dead limns the vagaries of love, the thirst for meaning, and the peculiar paths by which all creatures are led to their destiny. A panorama of contemporary life and an endlessly surprising tour de force: penetrating and magical, ominous and comic, this is the most astonishing book yet in Joy Williams's illustrious career. Joy Williams belongs, James Salter has written, "in the company of Céline, Flannery O'Connor, and Margaret Atwood."

Avoid the messy confrontations that accompany delivering bad news personally and let one of these cute baby animal postcards deliver the devastating message for you. Are you afraid to tell your girlfriend that her ass looks fat? Do you need to explain to your nephew that dreams don't come true? Why not let a cute, fuzzy bunny do it for you! We understand how hard it is to tell someone that you're sleeping with his wife, so let a photograph of a duckling sleeping on a teddy bear soften the blow. These perforated postcards answer all of your cowardly prayers—you'll finally be able to tell the truth without ever conquering your fear of confrontation. Let these adorable baby animals supply a silver lining to any bad situation and avoid, a long, tearful afternoon explaining why daddy's never coming home.

Winner of the 2018 Media Ecology Association's Erving Goffman Award for Outstanding Scholarship in the Ecology of Social Interaction Winner of the Eastern Communication Association's Everett Lee Hunt Award A behind-the-scenes account of how death is presented in the media Death is considered one of the most newsworthy events, but words do not tell the whole story. Pictures are also at the epicenter of journalism, and when photographers and editors illustrate fatalities, it often raises questions about how they distinguish between a “fit” and “unfit” image of death. Death Makes the News is the story of this controversial news practice: picturing the dead. Jessica Fishman uncovers the surprising editorial and political forces that structure how the news and media cover death. The patterns are striking, overturning long-held assumptions about which deaths are newsworthy and raising fundamental questions about the role that news images play in our society. In a look behind the curtain of newsrooms, Fishman observes editors and photojournalists from different types of organizations as they deliberate over which images of death make the cut, and why. She also investigates over 30 years of photojournalism in the tabloid and patrician press to establish when the dead are shown and whose dead body is most newsworthy, illustrating her findings with high-profile news events, including recent plane crashes, earthquakes, hurricanes, homicides, political unrest, and war-time attacks. Death Makes the News reveals that much of what we think we know about the news is wrong: while the patrician press claims that they do not show dead bodies, they are actually more likely than the tabloid press to show them—even though the tabloids actually claim to have no qualms showing these bodies. Dead foreigners are more likely to be shown than American bodies. At the same time, there are other unexpected but vivid patterns that offer insight into persistent editorial forces that routinely structure news coverage of death. An original view on the depiction of dead bodies in the media, Death Makes the News opens up new ways of thinking about how death is portrayed.

Winner of the 2021 National Jewish Book Award for Con­tem­po­rary Jew­ish Life and Prac­tice Finalist for the 2021 Kirkus Prize in Nonfiction A New York Times Notable Book of the Year A Wall Street Journal, Chicago Public Library, Publishers Weekly, and Kirkus Reviews Best Book of the Year A startling and profound exploration of how Jewish history is exploited to comfort the living. Renowned and beloved as a prizewinning novelist, Dara Horn has also been publishing penetrating essays since she was a teenager. Often asked by major publications to write on subjects related to Jewish culture—and increasingly in response to a recent wave of deadly antisemitic attacks—Horn was troubled to realize what all of these assignments had in common: she was being asked to write about dead Jews, never about living ones. In these essays, Horn reflects on subjects as far-flung as the international veneration of Anne Frank, the mythology that Jewish family names were changed at Ellis Island, the blockbuster traveling exhibition Auschwitz, the marketing of the Jewish history of Harbin, China, and the little-known life of the "righteous Gentile" Varian Fry. Throughout, she challenges us to confront the reasons why there might be so much fascination with Jewish deaths, and so little respect for Jewish lives unfolding in the present. Horn draws upon her travels, her research, and also her own family life—trying to explain Shakespeare’s Shylock to a curious ten-year-old, her anger when swastikas are drawn on desks in her children’s school, the profound perspective offered by traditional religious practice and study—to assert the vitality, complexity, and depth of Jewish life against an antisemitism that, far from being disarmed by the mantra of "Never forget," is on the rise. As Horn explores the (not so) shocking attacks on the American Jewish community in recent years, she reveals the subtler dehumanization built into the public piety that surrounds the Jewish past—making the radical argument that the benign reverence we give to past horrors is itself a profound affront to human dignity.

From the bestselling author of Jurassic Park, Timeline, and Sphere comes an epic tale of unspeakable horror. It is 922 A.D. The refined Arab courtier Ibn Fadlan is accompanying a party of Viking warriors back to their home. He is appalled by their customs—the gratuitous sexuality of their women, their disregard for cleanliness, and their cold-blooded sacrifices. As they enter the frozen, forbidden landscape of the North—where the day’s length does not equal the night’s, where after sunset the sky burns in streaks of color—Fadlan soon discovers that he has been unwillingly enlisted to combat the terrors in the night that come to slaughter the Vikings, the monsters of the mist that devour human flesh. But just how he will do it, Fadlan has no idea.

The celebrated New York Times Bestseller A Best Book of the Year pick at the New York Times, NPR, The New Yorker, TIME, Washington Post, Oprahmag.com, Thrillist, Shelf Awareness, Good Housekeeping and more. What does it take to come back to life? For Jessa-Lynn Morton, the question is not an abstract one. In the wake of her father’s suicide, Jessa has stepped up to manage his failing taxidermy business while the rest of the Morton family crumbles. Her mother starts sneaking into the taxidermy shop to make provocative animal art, while her brother, Milo, withdraws. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. It’s not until the Mortons reach a tipping point that a string of unexpected incidents begins to open up surprising possibilities and second chances. But will they be enough to salvage this family, to help them find their way back to one another? Kristen Arnett’s breakout bestseller is a darkly funny family portrait; a peculiar, bighearted look at love and loss and the ways we live through them together.

Perhaps only someone who has worked for almost a decade as a medic in New York City's Hell's Kitchen--as Joe Connelly has--could write a novel as riveting and fiercely authentic as Bringing Out the Dead. Like a front-line reporter, Connelly writes from deep within the experience, and the result is a debut novel of extraordinary power and intensity. In Frank Pierce, a brash EMS medic working the streets of Hell's Kitchen, Connelly gives us a man who is being destroyed by the act of saving people. Addicted to the thrill ("the best drug in the world") and the mission of the job, Frank is nevertheless drowning in five years' worth of grief and guilt--his own and others': "my primary role was less about saving lives than about bearing witness." His wife has left him, he's drinking on the job, and just a month ago he "helped to kill" an eighteen-year-old asthmatic girl. Now she's become the waking nightmare of all his failures: hallucination and projection ("the ghosts that once visited my dreams had followed me out to the street and were now talking back"), and as real to him as his own skin. And in reaction to her death, Frank has desperately resurrected a patient back into a life now little better than death. In a narrative that moves with the furious energy of an ambulance run, we follow Frank through two days and nights: into the excitement and dread of the calls; the mad humor that keeps the medics afloat; the memories, distant and recent, through which Frank reminds himself why he became a medic and tries, in vain, to convince himself to give it up. And we are with him as he faces his newest ghost: the resurrected patient, whose demands to be released into death might be the most sensible thing Frank has heard in months, if only he would listen. Bringing Out the Dead is a stunning novel.

Can FBI Special Agent Pendergast stop a cursed Egyptian tomb from terrorizing New York City -- or will he stay trapped in a maximum security prison, punished for a murder he didn't commit? An FBI agent, rotting away in a high-security prison for a murder he did not commit... His brilliant, psychotic brother, about to perpetrate a horrific crime... A young woman with an extrodinary past, on th edge of a violent breakdown... An ancient Egyptian tomb with an enigmatic curse, about to be unveiled at a celebrity-studded New York gala... Memento Mori