The New Death

Expert muffin baker Merry Wynter is finally ready to turn her passion into a career. But when a dead body is found on her property, she’s more worried about cooking up an alibi… Merry is making a fresh start in small-town Autumn Vale, New York, in the mansion she’s inherited from her late uncle, Melvin. The house is run-down and someone has been digging giant holes on the grounds, but with its restaurant-quality kitchen, the place has potential for her new baking business. She even has her first client—the local retirement home. Unfortunately, Merry soon finds that quite a few townsfolk didn’t like Uncle Mel, and she has inherited their enmity as well as his home. Local baker Binny Turner and her crazy brother, Tom, blame Melvin for their father’s death, and Tom may be the one vandalizing her land. But when Tom turns up dead in one of the holes in her yard, Merry needs to prove she had nothing to do with his death—or her new muffin-making career may crumble before it starts... FIRST IN A NEW SERIES! Includes delicious recipes!

Adopting the term "new death," which was used to describe the unprecedented and horrific scale of death caused by the First World War, Pearl James uncovers several touchstones of American modernism that refer to and narrate traumatic death. The sense of paradox was pervasive: death was both sanctified and denied; notions of heroism were both essential and far-fetched; and civilians had opportunities to hear about the ugliness of death at the front but often preferred not to. By historicizing and analyzing the work of such writers as Willa Cather, Ernest Hemingway, F. Scott Fitzgerald, and William Faulkner, the author shows how their novels reveal, conceal, refigure, and aestheticize the violent death of young men in the aftermath of the war. These writers, James argues, have much to say about how the First World War changed death's cultural meaning.

"There is perhaps no object as uncanny as the corpse--or more subject to elaborate taboos--and few topics yield as much cross-cultural anxiety as human mortality. Yet beliefs and practices around death never stand still. The New Death brings together scholars who are intrigued by today's rapidly changing death practices and attitudes. New and different ways of treating the body and memorializing the dead are proliferating across global cities. What are the beliefs, values, and ontologies entwined with these emergent death practices? Are we witnessing a shifting relationship between the living and the dead? Using ethnographic, historical, and media-based approaches, the contributors to this volume focus on new attittudes and practices around mortality and mourning--from the possibilities of digitally enhanced afterlives to industrialized 'necro-waste,' the ethics of care, the meaning of secular rituals, and the political economy of death. Together, the chapters coalesce around the argument that there are two major currents running through the new death-reconfigurations of temporality and of intimacy. Some aspects of the new death represent a remaking of older ideas and practices. But whether they draw on 'tradition' or on evolving technologies, people are reaching for new memorial objects to keep the dead present in their lives and new rituals to manage the timing and tempo of death. Pushing back against the folklorization endemic to anthropological studies of death practices and the whiteness of death studies as a field, the chapters strive to override divisions between the Global South and the Anglophone world, focusing instead on syncretization, globalization, and magic within the mundane" --

A hunger, at first all it felt was hunger, a deep longing for food for sustenance, a hunger, a longing that comes after hundreds of years of abstinence, of starvation. A craving so uncontrollable that nothing could have held it back from a hunt for food, nothing would stop it feeding, nothing as trivial as a few feet of earth and a slab of stone as it rose to the surface and stood under a black moonless night and sniffed the air, a scent brought a snarl and quicker than the eye could see it was gone, prey to catch, food to be taken, strength to be regained.

David Sedaris, the “champion storyteller,” (Los Angeles Times) returns with his first new collection of personal essays since the bestselling Calypso Back when restaurant menus were still printed on paper, and wearing a mask—or not—was a decision made mostly on Halloween, David Sedaris spent his time doing normal things. As Happy-Go-Lucky opens, he is learning to shoot guns with his sister, visiting muddy flea markets in Serbia, buying gummy worms to feed to ants, and telling his nonagenarian father wheelchair jokes. But then the pandemic hits, and like so many others, he’s stuck in lockdown, unable to tour and read for audiences, the part of his work he loves most. To cope, he walks for miles through a nearly deserted city, smelling only his own breath. He vacuums his apartment twice a day, fails to hoard anything, and contemplates how sex workers and acupuncturists might be getting by during quarantine. As the world gradually settles into a new reality, Sedaris too finds himself changed. His offer to fix a stranger’s teeth rebuffed, he straightens his own, and ventures into the world with new confidence. Newly orphaned, he considers what it means, in his seventh decade, no longer to be someone’s son. And back on the road, he discovers a battle-scarred America: people weary, storefronts empty or festooned with Help Wanted signs, walls painted with graffiti reflecting the contradictory messages of our time: Eat the Rich. Trump 2024. Black Lives Matter. In Happy-Go-Lucky, David Sedaris once again captures what is most unexpected, hilarious, and poignant about these recent upheavals, personal and public, and expresses in precise language both the misanthropy and desire for connection that drive us all. If we must live in interesting times, there is no one better to chronicle them than the incomparable David Sedaris.

The fact that we will die, and that our death can come at any time, pervades the entirety of our living. There are many ways to think about and deal with death. Among those ways, however, a good number of them are attempts to escape its grip. In this book, Todd May seeks to confront death in its power. He considers the possibility that our mortal deaths are the end of us, and asks what this might mean for our living. What lessons can we draw from our mortality? And how might we live as creatures who die, and who know we are going to die? In answering these questions, May brings together two divergent perspectives on death. The first holds that death is not an evil, or at least that immortality would be far worse than dying. The second holds that death is indeed an evil, and that there is no escaping that fact. May shows that if we are to live with death, we need to hold these two perspectives together. Their convergence yields both a beauty and a tragedy to our living that are inextricably entwined.Drawing on the thoughts of many philosophers and writers - ancient and modern - as well as his own experience, May puts forward a particular view of how we might think about and, more importantly, live our lives in view of the inescapability of our dying. In the end, he argues, it is precisely the contingency of our lives that must be grasped and which must be folded into the hours or years that remain to each of us, so that we can live each moment as though it were at once a link to an uncertain future and yet perhaps the only link we have left.

THE OLD GODS ARE DYING. Giant corporations collapse overnight. Newspapers are being swallowed. Stock prices plummet with a tweet. NEW IDOLS ARE RISING IN THEIR PLACE. More crime now happens online than offline. Facebook has grown bigger than any state, bots battle elections, coders write policy, and algorithms shape our lives in more ways than we can imagine. The Death of the Gods is an exploration of power in the digital age, and a journey in search of the new centres of control. From a cyber-crime raid in British suburbia to the engine rooms of Silicon Valley, pioneering technology researcher Carl Miller traces how power is being transformed, fought over, lost and won.