I Swear I Saw This

I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

Caldecott medalist Allen Say chronicles his experiences as an artist during World War II, and describes his relationship with his mentor Noro Shinpei, Japan's leading cartoonist.

"For a long time, we humans have excelled in mimicking nature with the goal of exploiting it. Now, with the existential threat of global climate change on the horizon, the ever-provocative Michael Taussig asks what it would take to change ourselves so as to save our world. Acknowledging the possibility of collapse and our all-too-human impotence in the face of accelerating disaster, this book is not solely a reflection on our tragic condition but also a theoretical effort to reckon with those human faculties that have fed our ambition for dominance over nature. At stake is an ultimate undoing of our sense of control--a "mastery of non-mastery." Animated by the urgency of a planet approaching meltdown, Taussig captures our moment, and all its attendant mythologies, with luminescent clarity"--

Over the past thirty years, visionary anthropologist Michael Taussig has crafted a highly distinctive body of work. Playful, enthralling, and whip-smart, his writing makes ingenious connections between ideas, thinkers, and things. An extended meditation on the mysteries of color and the fascination they provoke, What Color Is the Sacred? is the next step on Taussig’s remarkable intellectual path. Following his interest in magic and surrealism, his earlier work on mimesis, and his recent discussion of heat, gold, and cocaine in My Cocaine Museum,this book uses color to explore further dimensions of what Taussig calls “the bodily unconscious” in an age of global warming. Drawing on classic ethnography as well as the work of Benjamin, Burroughs, and Proust, he takes up the notion that color invites the viewer into images and into the world. Yet, as Taussig makes clear, color has a history—a manifestly colonial history rooted in the West’s discomfort with color, especially bright color, and its associations with the so-called primitive. He begins by noting Goethe’s belief that Europeans are physically averse to vivid color while the uncivilized revel in it, which prompts Taussig to reconsider colonialism as a tension between chromophobes and chromophiliacs. And he ends with the strange story of coal, which, he argues, displaced colonial color by giving birth to synthetic colors, organic chemistry, and IG Farben, the giant chemical corporation behind the Third Reich. Nietzsche once wrote, “So far, all that has given colour to existence still lacks a history.” With What Color Is the Sacred? Taussig has taken up that challenge with all the radiant intelligence and inspiration we’ve come to expect from him.

Denmark, Tennessee, stinks. The smell hits Horatio Wilkes the moment he pulls into town to visit his best friend, Hamilton Prince. And it's not just the paper plant and the polluted river that's stinking up Denmark: Hamilton's father has been poisoned and the killer is still at large. Why? Because nobody believes that Rex Prince was murdered. Nobody except Horatio and Hamilton. Now they need to find the killer, but it won't be easy. It seems like everyone in Denmark is a suspect. Motive, means, opportunity--they all have them. But who among them has committed murder most foul?

In After This, acclaimed author, and therapist Claire Bidwell Smith confronts the question she encounters every day in private practice—what happens after we die? In an exploration of the afterlife that is part personal, part prescriptive—Smith invites us on her journey into the unknown. She wonders: How do we grieve our loved ones without proof that they live on? Will we ever see them again? Can they see us now, even though they are gone? Chronicling our steps along the path that bridges this world and the next, Smith undergoes past-life regressions and sessions with mediums and psychics and immerses herself in the ceremonies of organized religion and the rigor of scientific experiments to try and find the answers. Drawing on both her personal losses, recounted in her memoir The Rules of Inheritance, as well as her background working in hospice as a bereavement counselor, Smith attempts to show how exploring the afterlife can have a positive impact on the grief process.

*Newbery Honor Book* *Boston Globe-Horn Book Honor* A nuanced and fierce middle grade novel about sisterhood and sexual abuse, by two-time Newbery Honor winner and #1 New York Times best seller Kimberly Brubaker Bradley, author of The War that Saved My Life "Fighting Words is raw, it is real, it is necessary, a must-read for children and their adults—a total triumph in all ways." —Holly Goldberg Sloan, New York Times bestselling author of Counting by 7s Ten-year-old Della has always had her older sister, Suki: When their mom went to prison, Della had Suki. When their mom's boyfriend took them in, Della had Suki. When that same boyfriend did something so awful they had to run fast, Della had Suki. Suki is Della's own wolf--her protector. But who has been protecting Suki? Della might get told off for swearing at school, but she has always known how to keep quiet where it counts. Then Suki tries to kill herself, and Della's world turns so far upside down, it feels like it's shaking her by the ankles. Maybe she's been quiet about the wrong things. Maybe it's time to be loud. In this powerful novel that explodes the stigma around child sexual abuse and leavens an intense tale with compassion and humor, Kimberly Brubaker Bradley tells a story about two sisters, linked by love and trauma, who must find their own voices before they can find their way back to each other. "Della’s matter-of-fact narration manages to be as funny and charming as it is devastatingly sad. . . . This is a novel about trauma [but] more than that, it’s a book about resilience, strength and healing. For every young reader who decides to wait . . . there will be others for whom this is the exact book they need right now." —New York Times Book Review "One of the most important books ever written for kids."—Colby Sharp of Nerdy Book Club "One for the history books."—Betsy Bird for A Fuse #8 Production/SLJ "Gripping. Life-changing...I am awe-struck."—Donna Gephart, author of Lily and Dunkin "Compassionate, truthful, and beautiful."—Elana K. Arnold, author of Damsel "I am blown away. [This] may be Kimberly Brubaker Bradley's best work yet."—Barbara Dee, author of Maybe He Just Likes You "A book that lets [kids] know they have never been alone. And never will be."—Kat Yeh, author of The Truth About Twinkie Pie "Meets the criteria of great children's literature that [will] resonate with adults too."—Bitch Media * "At once heartbreaking and hopeful."—Kirkus (starred review) * "Honest [and] empowering...An important book for readers of all ages."—SLJ (starred review) * "Sensitive[,] deft, and vivid."—BCCB (starred review) * "Prepare to read furiously."—Booklist (starred review) * "An essential, powerful mirror and window for any reader."—PW (starred review) * "Enlightening, empowering and--yes--uplifting."—BookPage (starred review) * "Unforgettable."—The Horn Book (starred review)

An odyssey of family, heartbreak, violence, punk rock, brokenness, broke-ness, sex, love, loss, drinking, drinking, drinking, and an unlikely savior: distance running. A misfit kid at the best of times, Mishka Shubaly had his world shattered when, in a twenty-four-hour span in 1992, he survived a mass shooting on his school's campus, then learned that his parents were getting divorced. His father, a prominent rocket scientist, abandoned the family and their home was lost to foreclosure. Shubaly swore to avenge the wrongs against his mother, but instead plunged into a magnificently toxic love affair with alcohol. Almost two decades later, Shubaly's life changed again when a fateful five-mile run after a bar fight inspired him to clean up his life. And when he finally reconnected with his estranged father, he discovered the story of his childhood was radically different from what he thought he knew. In this fiercely honest, emotional, and self-laceratingly witty book, Shubaly relives his mistakes, misfortunes, and infrequent good decisions: the disastrous events that fractured his life; his incendiary romances; his hot-and-cold career as a rock musician; meeting his newborn nephew while out of his gourd on cough syrup. I Swear I'll Make It Up to You is an apology for choices Shubaly never thought he'd live long enough to regret, a journey so far down the low road that it took him years of running to claw his way back.