Monument Maker

A ROUGH TRADE BOOK OF THE YEAR CONCRETE ISLANDS NO. 1 BOOK OF THE YEAR 'In a dizzying gyroscopic vortex of inner archeology, David Keenan sifts through spiraling past lives to unearth his provocative vision of the future. A colossus of imagination' LENNY KAYE 'Visionary and prismatic, gloriously hallucinatory although grounded in the material, Monument Maker's grand sweep takes in distant historical subterrains, a shimmering summer of the present, the transient, the eternal, the profane, the divine' WENDY ERSKINE 'I sometimes think David Keenan dreams aloud. His prose has the effortless enigmatic, unsettling quality of dream' EDNA O'BRIEN 'A masterpiece' WILLIAM BASINSKI Is it possible for books to dream? For books to dream within books? Is there a literary subterranea that would facilitate ingress and exit points through these dreams? These are some of the questions posed by David Keenan's masterly fifth novel, Monument Maker, an epic romance of eternal summer and a descent, into history, into the horrors of the past; a novel with a sweep and range that runs from the siege of Khartoum and the conquest of Africa in the 19th century through the Second World War and up to the present day, where the memory of a single summer, and a love affair that took place across the cathedrals of Ile de France, unravels, as a secret initiatory cult is uncovered that has its roots in macabre experiments in cryptozoology in pre-war Europe. MONUMENT MAKER straddles genres while fully embracing none of them, a book within a book within a book that runs from hallucinatory historical epics through future-visioned histories of the world narrated by a horribly disfigured British soldier made prophetic by depths of suffering; books that interact with Keenan's earlier novels, including a return to the mythical post-punk Airdrie landscape of his now classic debut, THIS IS MEMORIAL DEVICE; whole histories of art and religion; books that are glorious choral appendices; bibliographies; imagined films; tape recorded interviews; building to a jubilant accumulation of registers, voices and rhythms that is truly Choral. Written over the course of 10 years, MONUMENT MAKER represents the apex of Keenan's project to create books that contain uncanny life and feel like living organisms. It is a meditation on art and religion, and on what it means to make monument; this great longing for something eternal, something that could fix moments in time, forever.

Named to the Bank Street College Best Children's Books of the Year for 2020 20th Annual Massachusetts Book Awards “Must Reads”: A Must-Read Picture Book CYBILS Award short list When Abraham Lincoln was assassinated in 1865, fifteen-year-old Dan French had no way to know that one day his tribute to the great president would transform a plot of Washington, DC marshland into America’s gathering place. He did not even know that a sculptor was something to be. He only knew that he liked making things with his hands. This is the story of how a farmboy became America’s foremost sculptor. After failing at academics, Dan was working the family farm when he idly carved a turnip into a frog and discovered what he was meant to do. Sweeney’s swift prose and Fields’s evocative illustrations capture the single-minded determination with which Dan taught himself to sculpt and launched his career with the famous Minuteman Statue in his hometown of Concord, Massachusetts. This is also the story of the Lincoln Memorial, French’s culminating masterpiece. Thanks to this lovingly created tribute to the towering leader of Dan’s youth, Abraham Lincoln lives on as the man of marble, his craggy face and careworn gaze reminding millions of seekers what America can be. Dan’s statue is no lifeless figure, but a powerful, vital touchstone of a nation’s ideals. Now Dan French has his tribute too, in this exquisite biography that brings history to life for young readers.

The artist who created the statue for the Lincoln Memorial, John Harvard in Harvard Yard, and The Minute Man in Concord, Massachusetts, Daniel Chester French (1850–1931) is America's best-known sculptor of public monuments Monument Man is the first comprehensive biography of this fascinating figure and his illustrious career. Full of rich detail and beautiful archival photographs, Monument Man is a nuanced study of a preeminent artist whose evolution ran parallel to, and deeply influenced, the development of American sculpture, iconography, and historical memory. Monument Man was specially commissioned by Chesterwood / National Trust for Historic Preservation. The release will coincide with the fiftieth anniversary of the opening of Chesterwood, his country home and studio, as a public site and with a major renovation of the Lincoln Memorial. The book includes a comprehensive geographical guide to French's public work.

An important literary memoir which views white settler family history against the impacts on the Indigenous people with whom they interact. Monument is poet and critic Bonny Cassidy’s fourth book. Moving seamlessly through genres in its recovery of the past — part poetry, part prose, microhistory, memoir, travel writing, and sometimes counterfactual speculation — it traces the complex consequences of colonial settlement across the generations of a White Australian family of mixed origins and ancestries. Following the threads and detours signalled by research, objects and testimony, Cassidy makes a case for the value of ‘collected memory’ against the tide of settlement and silence. Inspired by the methods of Natalie Harkin’s archival poetics and Katrina Schlunke’s Bluff Rock: Autobiography of a Massacre, Cassidy’s Monument considers how non-Indigenous Australians might absorb First Nations truth-telling; and what this means for acts of speech, and writing. Should our memories serve the living or the dead, the past or the present? Why do we need new monuments in Australia, and where should we expect to find them?

AnnaSznajder centers this ethnography of gendered creative practice in the lace-making community of Bobowa, Poland. Grounded in rural gender studies and feminist epistemology, Polish Lace Makers: Gender, Heritage, and Identity is a pivotal historical and modern account of the social and economic behaviors of entrepreneurial craftswomen tasked with preserving the originality and symbolic value of lace. Sznajder traces the evolving work strategies and occupational identities of this community from the early 19th nineteenth century up to the modern day, outlining the challenges of World War II, communist rule, and socialist Poland. The case studies included in this account are emulative of the larger struggle of female entrepreneurs to self-manage, innovate, create, and provide for themselves and their families. This book is recommended for scholars of anthropology, sociology, gender studies, and European studies.

Wars do not fully end when the shooting stops. As G. Kurt Piehler reveals in this book, after every conflict from the Revolution to the Persian Gulf War, Americans have argued about how and for what deeds and heroes wars should be remembered. Drawing on sources ranging from government documents to Embalmer's Monthly, Piehler recounts efforts to commemorate wars by erecting monuments, designating holidays, forming veterans' organizations, and establishing national cemetaries. The federal government, he contends, initially sidestepped funding for memorials, thereby leaving the determination of how and whom to honor in the hands of those with ready money—and those who responded to them. In one instance, monuments to “Yankee heroes” erected by the Daughters of the American Revolution were countered by immigrant groups, who added such figures as Casimir Pulaski and Thaddeus Kosciusko to the record of the war. Piehler argues that the conflict between these groups is emblematic of the ongoing reinterpretation of wars by majority and minority groups, and by successive generations. Demonstrating that the battles over the Vietnam Veterans Memorial are not unique in American history, Remembering War the American Way reveals that the memory of war is intrinsically bound to the pluralistic definition of national identity.

Contributions by Allan Amanik, Kelly B. Arehart, Sue Fawn Chung, Kami Fletcher, Rosina Hassoun, James S. Pula, Jeffrey E. Smith, and Martina Will de Chaparro Till Death Do Us Part: American Ethnic Cemeteries as Borders Uncrossed explores the tendency among most Americans to separate their dead along communal lines rooted in race, faith, ethnicity, or social standing and asks what a deeper exploration of that phenomenon can tell us about American history more broadly. Comparative in scope, and regionally diverse, chapters look to immigrants, communities of color, the colonized, the enslaved, rich and poor, and religious minorities as they buried kith and kin in locales spanning the Northeast to the Spanish American Southwest. Whether African Americans, Muslim or Christian Arabs, Indians, mestizos, Chinese, Jews, Poles, Catholics, Protestants, or various whites of European descent, one thing that united these Americans was a drive to keep their dead apart. At times, they did so for internal preference. At others, it was a function of external prejudice. Invisible and institutional borders built around and into ethnic cemeteries also tell a powerful story of the ways in which Americans have negotiated race, culture, class, national origin, and religious difference in the United States during its formative centuries.