An Editor S Burial

A scintillating collection of inspirations for Wes Anderson's star-studded tenth film The French Dispatch--fascinating essays on the expatriate experience in Paris by some of the twentieth century's finest writers. A glimpse of post-war France through the eyes and words of 14 (mostly) expatriate journalists including Mavis Gallant, James Baldwin, A.J. Liebling, S.N. Behrman, Luc Sante, Joseph Mitchell, and Lillian Ross; plus, portraits of their editors William Shawn and New Yorker founder Harold Ross. Together: they invented modern magazine journalism. Includes an introductory interview by Susan Morrison with Anderson about transforming fact into a fiction and the creation of his homage to these exceptional reporters.

A scintillating collection of inspirations for Wes Anderson's star-studded tenth film The French Dispatch--fascinating essays on the expatriate experience in Paris by some of the twentieth century's finest writers. A glimpse of post-war France through the eyes and words of 14 (mostly) expatriate journalists including Mavis Gallant, James Baldwin, A.J. Liebling, S.N. Behrman, Luc Sante, Joseph Mitchell, and Lillian Ross; plus, portraits of their editors William Shawn and New Yorker founder Harold Ross. Together: they invented modern magazine journalism. Includes an introductory interview by Susan Morrison with Anderson about transforming fact into a fiction and the creation of his homage to these exceptional reporters.

Set against Iceland's stark landscape, Hannah Kent brings to vivid life the story of Agnes, who, charged with the brutal murder of her former master, is sent to an isolated farm to await execution. Set against Iceland's stark landscape, Hannah Kent brings to vivid life the story of Agnes, who, charged with the brutal murder of her former master, is sent to an isolated farm to await execution. Horrified at the prospect of housing a convicted murderer, the family at first avoids Agnes. Only Tv=ti, a priest Agnes has mysteriously chosen to be her spiritual guardian, seeks to understand her. But as Agnes's death looms, the farmer's wife and their daughters learn there is another side to the sensational story they've heard. Riveting and rich with lyricism, Burial Rites evokes a dramatic existence in a distant time and place, and asks the question, how can one woman hope to endure when her life depends upon the stories told by others?

“Leave now, or die!” Those words-or ones just as ominous-have echoed through the past hundred years of American history, heralding a very unnatural disaster-a wave of racial cleansing that wiped out or drove away black populations from counties across the nation. While we have long known about horrific episodes of lynching in the South, this story of racial cleansing has remained almost entirely unknown. These expulsions, always swift and often violent, were extraordinarily widespread in the period between Reconstruction and the Depression era. In the heart of the Midwest and the Deep South, whites rose up in rage, fear, and resentment to lash out at local blacks. They burned and killed indiscriminately, sweeping entire counties clear of blacks to make them racially “pure.” Many of these counties remain virtually all-white to this day. In Buried in the Bitter Waters, Pulitzer Prize-winning journalist Elliot Jaspin exposes a deeply shameful chapter in the nation's history-and one that continues to shape the geography of race in America.

Death, dying and burial produce artefacts and occur in spatial contexts. The interplay between such materiality and the bereaved who commemorate the dead yields interpretations and creates meanings that can change over time. Materiality is more than simple matter, void of meaning or relevance. The apparent inanimate has meaning. It is charged with significance, has symbolic and interpretative value—perhaps a form of selfhood, which originates from the interaction with the animate. In our case, gravestones, bodily remains and the spatial order of the cemetery are explored for their material agency and relational constellations with human perceptions and actions. Consciously and unconsciously, by interacting with such materiality, one is creating meaning, while materiality retroactively provides a form of agency. Spatiality provides more than a mere context: it permits and shapes such interaction. Thus, artefacts, mementos and memorials are exteriorised, materialised, and spatialized forms of human activity: they can be understood as cultural forms, the function of which is to sustain social life. However, they are also the medium through which values, ideas and criteria of social distinction are reproduced, legitimised, or transformed. This book will explore this interplay by going beyond the consideration of simple grave artefacts on the one hand and graveyards as a space on the other hand, to examine the specific interrelationships between materiality, spatiality, the living, and the dead. The chapters in this book were originally published as a special issue of the journal Mortality.

This companion volume seeks to trace the development of ideas relating to death, burial, and the remembrance of the dead in Europe from ca.1300-1700.

Most cultures and societies have their own customs and traditions of treating their dead. In the past, some deceased received a burial that deviated from tradition. The reasons for unusual burial could result from reasons such as outbreaks of epidemics or wars, or from premature births, distinctive social status, or disability. Authors present a selection of cases addressing the issue of unusual deaths, burials, or ways to remember the deceased. Chapters explore theoretical views related to social memory of death and memorializing the deceased and their resting places during modern period. The case studies introduce varied views on ‘otherness’ that are visible in burial customs and memorialization.