In At The Death

Nation states and communities throughout the world have reached certain decisions about capital punishment: It is the destruction of human life. It is ineffective as a deterrent for crime. It is an instrument the state uses to contain or eliminate its political adversaries. It is a tool of “justice” that disproportionality affects religious, social, and racial minorities. It is a sanction that cannot be fixed if unjustly applied. Yet the United States—along with countries notorious for human rights abuse—remains an advocate for the death penalty. In these thirteen pieces, Mario Marazziti exposes the profound inhumanity and irrationality of the death penalty in this country, and urges us to join virtually every other industrialized democracy in rendering capital punishment an abandoned practice belonging to a crueler time in human history. A polemical book, yes, yet one that brings together a wide range of stories to compel the heart as well the mind.

The social and cultural changes of the last century have transformed death from an everyday fact to something hidden from view. Shifting between the practical and the theoretical, the professional and the intimate, the real and the fictitious, this collection of essays explores the continued power of death over our lives. It examines the idea and experience of death from an interdisciplinary perspective, including studies of changing burial customs throughout Europe; an account of a“dying party” in the Netherlands; examinations of the fascination with violent death in crime fiction and the phenomenon of serial killer art; analyses of death and bereavement in poetry, fiction, and autobiography; and a look at audience reactions to depictions of death on screen. By studying and considering how death is thought about in the contemporary era, we might restore the natural place it has in our lives.

A yoga teacher, punk rock bassist, and Buddhist teaches from experience on how approaching death and grief with a little more compassion and a little less fear will make for a better life—and a better death, too. DEATH. Even the word itself probably makes you a little uncomfortable. Just look at it, sitting there, demanding to be acknowledged. It might even make you a lot uncomfortable. We spend so much time trying to deny death, going on about our lives as if we and our loved ones are immune to it. Then, one day, its truth becomes undeniable. The Death of You doesn’t flinch in looking into this vital, urgent matter. Join Miguel for a wild ride where we get real about death—and even have a few laughs at its expense. If you might someday die—or if you know someone who will—this book is for you. If you’re afraid of dying, this book is for you. If you’re excited about the Great Unknown, this book is for you. In plainspoken, kind, and encouraging language, Miguel will show you how to transform your relationship with death—and in doing so, you'll get to know your life in a whole new way. Today is the perfect day to start. Don’t wait—you’re not gonna live forever.

Winner of the 2017 J. Anthony Lukas PrizeShortlisted for the 2017 Hurston/Wright Foundation AwardFinalist for the 2017 Helen Bernstein Book Award for Excellence in JournalismLonglisted for the 2017 Andrew Carnegie Medal for Excellence in Non Fiction On an average day in America, seven children and teens will be shot dead. In Another Day in the Death of America, award-winning journalist Gary Younge tells the stories of the lives lost during one such day. It could have been any day, but he chose November 23, 2013. Black, white, and Latino, aged nine to nineteen, they fell at sleepovers, on street corners, in stairwells, and on their own doorsteps. From the rural Midwest to the barrios of Texas, the narrative crisscrosses the country over a period of twenty-four hours to reveal the full human stories behind the gun-violence statistics and the brief mentions in local papers of lives lost. This powerful and moving work puts a human face-a child's face-on the "collateral damage" of gun deaths across the country. This is not a book about gun control, but about what happens in a country where it does not exist. What emerges in these pages is a searing and urgent portrait of youth, family, and firearms in America today.

Winner of the Restless Books Prize for New Immigrant Writing, Priyanka Champaneri’s transcendent debut novel brings us inside India’s holy city of Banaras, where the manager of a death hostel shepherds the dying who seek the release of a good death, while his own past refuses to let him go. Banaras, Varanasi, Kashi: India’s holy city on the banks of the Ganges has many names but holds one ultimate promise for Hindus. It is the place where pilgrims come for a good death, to be released from the cycle of reincarnation by purifying fire. As the dutiful manager of a death hostel in Kashi, Pramesh welcomes the dying and assists families bound for the funeral pyres that burn constantly on the ghats. The soul is gone, the body is burnt, the time is past, he tells them. Detach. After ten years in the timeless city, Pramesh can nearly persuade himself that here, there is no past or future. He lives contentedly at the death hostel with his wife, Shobha, their young daughter, Rani, the hostel priests, his hapless but winning assistant, and the constant flow of families with their dying. But one day the past arrives in the lifeless form of a man pulled from the river—a man with an uncanny resemblance to Pramesh. Called “twins” in their childhood village, he and his cousin Sagar are inseparable until Pramesh leaves to see the outside world and Sagar stays to tend the land. After Pramesh marries Shobha, defying his family’s wishes, a rift opens up between the cousins that he has long since tried to forget. Do not look back. Detach. But for Shobha, Sagar’s reemergence casts a shadow over the life she’s built for her family. Soon, an unwelcome guest takes up residence in the death hostel, the dying mysteriously continue to live, and Pramesh is forced to confront his own ideas about death, rebirth, and redemption. Told in lush, vivid detail and with an unforgettable cast of characters, The City of Good Death is a remarkable debut novel of family and love, memory and ritual, and the ways in which we honor the living and the dead. PRAISE FOR THE CITY OF GOOD DEATH “In Champaneri’s ambitious, vivid debut, the dying come to the holy city of Kashi to die a good death that frees them from the burden of reincarnation…. In sharp prose, Champaneri explores the power of stories—those the characters tell themselves, those told about them, and those they believe. . . . This epic, magical story of death teems with life.” —Publishers Weekly “Brimming with characters whose lives overlap and whose stories interweave, Champaneri’s exquisite debut delves into the consequences of the past, and how stories that are told can become reality even when they contain barely a shred of truth. As Pramesh discovers, the bitterness of past wounds can bring hope for redemption and life.” —Bridget Thoreson, Booklist “Lush prose evokes the thick, close atmosphere of Kashi and the intricate religious practices upon which life and death depend. Rumor and superstition hold sway over even the most level-headed people, twisting what’s explainable into something extraordinary—with tragic consequences. . . . The City of Good Death is a breathtaking, unforgettable novel about how remembering the past is just as important as moving on.” —Eileen Gonzalez, Foreword Reviews, Starred Review "Champaneri’s Kashi is teeming and vivid . . . the book frequently charms, and it's as full of humor, warmth, and mystery as Kashi’s own marketplace." —Kirkus Reviews “The City of Good Death is the debut novel of Priyanka Champaneri but it has the confidence of a master storyteller. Drawing on the rich literary traditions of Salman Rushdie and Arundhati Roy, Champaneri’s epic saga will satisfy armchair travelers thirsty for adventure, and sick of looking out their windows.” —Chicago Review of Books "In intricate detail and with remarkable skill, Champaneri writes a powerful tale about the pull of the past and our aching need to understand the mysteries and misunderstandings that thwart our relationships. An atmospheric and immersive debut with a rich cast of characters you won’t soon forget." —Marjan Kamali, author of The Stationery Shop

NATIONAL BESTSELLER ONE OF CBC'S BEST CANADIAN NONFICTION BOOKS OF 2022 For fans of Jon Krakauer's Into the Wild, the riveting story of the unsolved disappearance of an American backpacker in India—one of at least two dozen tourists who have met a similar fate in the remote and storied Parvati Valley. For centuries, India has enthralled Westerners looking for an exotic getaway, a brief immersion in yoga and meditation, or, in rare cases, a true pilgrimage to find spiritual revelation. Justin Alexander Shetler, an inveterate traveler trained in wilderness survival, was one such seeker. In his early thirties, Justin quit his job at a tech startup and set out on a global journey—across the United States by motorcycle, then down to South America, and on to the Philippines, Thailand, and Nepal—in search of authentic experiences and meaningful encounters while documenting his travels on Instagram. His enigmatic character and magnetic personality gained him a devoted following who lived vicariously through his adventures. But the ever-restless explorer was driven to seek out ever-greater extremes, and greater risks, in what had become a personal quest—his own hero’s journey. In 2016, he made his way to the Parvati Valley, a remote and rugged corner of the Indian Himalayas steeped in mystical tradition and shrouded in darkness and danger. There he spent weeks studying under the guidance of a sadhu, an Indian holy man, living and meditating in a cave. At the end of August, accompanied by the sadhu, he set off on a spiritual journey to a holy lake—one from which he would never return. Lost in the Valley of Death is about one man’s search to find himself, in a country where, for many Westerners, the path to spiritual enlightenment can prove fraught, even treacherous. But it is also a story about all of us and the ways, sometimes extreme, we seek fulfillment in life.

Over Britain’s first century of mass democracy, politics has lurched from crisis to crisis. How does this history of political agony illuminate our current age of upheaval? To find out, journalist Phil Tinline takes us back to two past eras when the ruling consensus broke down, and the future filled with ominous possibilities – until, finally, a new settlement was born. How did the Great Depression’s spectres of fascism, bombing and mass unemployment force politicians to think the unthinkable, and pave the way to post-war Britain? How was Thatcher’s road to victory made possible by a decade of nightmares: of hyperinflation, military coups and communist dictatorship? And why, since the Crash in 2008, have new political threats and divisions forced us to change course once again? Tinline brings to life those times, past and present, when the great compromise holding democracy together has come apart; when the political class has been forced to make a choice of nightmares. This lively, original account of panic and chaos reveals how apparent catastrophes can clear the path to a new era. The Death of Consensus will make you see British democracy differently.

"M_____ is a film extra with a meagre list of credits to their name and a side career writing obituaries for the Los Angeles Times. M_____ is also dying of cancer at only thirty-two. With the stark reality of death looming overhead, and against the even greater threat of being forgotten, M_____ starts down a strange, fantastic and ultimately tragic path recounting a doomed love affair with the world's greatest living "redshirt"--a man who, over a career spanning two decades, has died or appeared dead in nearly eight hundred film and television roles. A compelling narrative interspersed with blog fragments and film scripts, The Death Scene Artist is a three-act surrealist exploration of the obsessive fault-finding of body dysmorphia, the internal conflict of gender dysphoria and the dangerous desires of a man who has lived several hundred half-minute lives without having ever experienced his own."--