Tomb Song

An incandescent new voice from Mexico, for readers of Ben Lerner and Rachel Cusk Sitting at the bedside of his mother as she is dying from leukemia in a hospital in northern Mexico, the narrator of Tomb Song is immersed in memories of his unstable boyhood and youth. His mother, Guadalupe, was a prostitute, and Julián spent his childhood with his half brothers and sisters, each from a different father, moving from city to city and from one tough neighborhood to the next. Swinging from the present to the past and back again, Tomb Song is not only an affecting coming-of-age story but also a searching and sometimes frenetic portrait of the artist. As he wanders the hospital, from its buzzing upper floors to the haunted depths of the morgue, Julián tells fevered stories of his life as a writer, from a trip with his pregnant wife to a poetry festival in Berlin to a drug-fueled and possibly completely imagined trip to another festival in Cuba. Throughout, he portrays the margins of Mexican society as well as the attitudes, prejudices, contradictions, and occasionally absurd history of a country ravaged by corruption, violence, and dysfunction. Inhabiting the fertile ground between fiction, memoir, and essay, Tomb Song is an electric prose performance, a kaleidoscopic, tender, and often darkly funny exploration of sex, love, and death. Julián Herbert’s English-language debut establishes him as one of the most audacious voices in contemporary letters.

This book employs a biographical approach to comprehensively study a set of Tang era-tomb guardian figurines, known as the Four Gods (Sishen), comprising a pair of warriors (Dangkuang and Dangye) and a pair of hybrid beasts (Zuming and Dizhou). These objects were exclusively used by officials until 841 AD and were mainly found in capitals then. They disappeared in the 9th century AD. The book is divided into three sections. Part one focuses on their symbolism through names, images, burial contexts, associated ritual regulations, and the interplay of all of these, revealing their dual significance – apotropaic and political, tied to ritual propriety, nuo exorcism, yin-yang divination, and more. Part two explores their connection to other supernatural tomb figurines in the early and middle Tang periods, challenging previous theories and highlighting regional standardization. Additionally, this part delves into the Four Gods’ regulated production, government oversight, and role in funerary processions. Part three examines their disappearance due to shifting views on the afterlife and diminishing national power. It also explores changes in the usage of related tomb objects after the Tang era, focusing on protective functions and spatial concepts.

Provides a much needed summary overview of the key elements of Egyptian tomb form, use and decoration over time. The tombs, with their scenes, inscriptions, objects and human remains, represent our richest source of information for the understanding of Egyptian beliefs and practices, art and architecture and of many aspects of daily life. Detailed, scholarly reports on individual cemeteries and tombs are abundant but in this fully illustrated, more general work, reproduced in this facsimile edition, Kanawati provides an invaluable introduction to, and overview of, the key elements of Egyptian tombs from Predynastic to the Late Period. The Egyptian dead enjoyed a continued existence in both the Netherworld and the land of the living – the individual possessing multiple entities that experienced different destinies after death. The tomb provided an everlasting earthly dwelling and consisted of a chapel above ground where the deceased’s cult was maintained and offerings presented, and a burial chamber for the body. Either or both could be richly decorated with paintings, reliefs and inscriptions. Kanawati describes and illustrates the principal forms and features of architecture and nature and subject matter of decoration and demonstrates how tomb design and decoration changed through time.

The Oxford Handbook on Early China brings 30 scholars together to cover early China from the Neolithic through Warring States periods (ca 5000-500BCE). The study is chronological and incorporates a multidisciplinary approach, covering topics from archaeology, anthropology, art history, architecture, music, and metallurgy, to literature, religion, paleography, cosmology, religion, prehistory, and history.

The complete wall decorations of 3 Theban tombs (No. 77, No. 175 and No. 249) are here published for the first time. The graves at Thebes in Egypt, belonged to a master builder of the Amon temple in the time of Thutmosis IV, a purveyor of sweets in Amenophis III's temple of the dead, and a man in the business of scented oils. To date, only individual scenes from these tombs have been published, but here the reader is presented with the decorations in their entirety, including black and white photographs and line drawings, together with transcriptions and translations of all of the related texts.

Isbister in the Orkneys is one of those extraordinary archaeological sites where the remains of Neolithic man and his works have been so well preserved that they give us an amazingly clear picture of the life and people of 5000 years ago. In Tomb of the Eagles John W. Hedges describes vividly the activities of a tribe which had as its totem the magnificent white-tailed sea eagle. For these people the building and use of the tomb was symbol and expression of their identity. It was here that the dead joined their ancestors–but only after the flesh had been stripped from their bones. It was here, too, that offerings were made. Here broken pots were piled; fish, eagles and joints of meat mouldered; and the hands of the living sorted the heaped bones of the dead.