An extraordinary memoir--told entirely in near-death experiences--from one of Britain's bestselling novelists, as she reminds us that we are never closer to life than when we brush up against the possibility of death. I Am, I Am, I Am is Maggie O'Farrell's astonishing memoir of the near-death experiences that have punctuated and defined her life. The childhood illness that left her in the hospital for nearly a year, which she was not expected to survive. A teenage yearning to escape that nearly ended in disaster. An encounter with a serial killer on a remote path. And, most terrifying of all, an ongoing, daily struggle to protect her daughter from a condition that leaves her unimaginably vulnerable to life's myriad dangers. Seventeen discrete encounters with Maggie at different ages, in different locations, reveal a whole life in a series of tense, visceral snapshots. In taut prose that vibrates with electricity and a restrained emotion, O'Farrell captures the perils running just beneath the surface, and illuminates the preciousness, beauty and mysteries of life itself.

Born against all odds, near death, premature at two pounds thirteen ounces, and breached feet first, I was determined to stand on my ten toes through the struggle. I was early and missed the call to go that was God. Sometimes, you have to dance with the devil to get out of hell, and these are my brushes with death.

Both reckless and lucky, this serial survivor seeks meaning in a life full of brushes with death and passing glimpses of fame. The life-threatening accidents and mishaps come in many shades: from full-fledged out-of-body experiences, to near misses and close calls, to highway mishaps, dodging bullets, edgy adventures, stupid risks, fights and wars; sometimes just witnessing disaster, or knowing others not so fortunate to escape it. The narrator emerges with a guarded view of the shadowland of death, and brief tastes of the wonderland of stardom. Always coming back home again, chastised and forgiven, charged with fresh gratitude and humility.

Begun in 1994, The Atlanta Study is the first comprehensive investigation of its kind into near-death experiences (NDEs). The study's name hardly captures what lies behind it: life-and-death dramas played out in operating rooms and hospital beds--and simultaneous events unseen by medical personnel but reported with astonishing clarity and conviction by nearly 50 individuals who returned from death's door. Now the founder of The Atlanta Study, Dr. Michael Sabom reveals their impact on the people who have experienced them. From both medical and personal perspectives, he shares the electrifying stories of men and women from all walks of life and religious persuasions. He explores the clinical effect of the NDE on survival and healing and discloses surprising findings. He questions some common conclusions about NDEs. And he scrutinizes near-death experiences in the light of what the Bible has to say about death and dying, the realities of light and darkness, and the Gospel of Jesus Christ.

The Nation magazine, since its founding in 1865, began what has become, for better or worse, art criticism as a cultural institution in the United States. This eclectic collection features contributors like Christopher Hitchens on “degenerate art,” Heywood Broun on the Artists Congress of 1936, Katherine Anne Porter on children’s art, Marianne Moore on the death of Nation art critic Paul Rosenfeld, and Langston Hughes on “Negro Art.” The volume also includes contributions from many well-known artists: Stuart Davis, Marsden Harley, Alfred Stieglitz, John Marin, Kenyon Cox, Guy Pene Du Bois, Louis Lozowick, and Frank Lloyd Wright. Celebrated writers on art such as Bernard Berenson, Clement Greenberg, Lawrence Alloway, Hilton Kramer, Max Kozloff, John Berger, and Arthur Danto give readers first-hand accounts of the debuts of artists ranging from John Singer Sargent to Jackson Pollock and Willem deKooning as well as the famous lawsuit between John Ruskin and James McNeill Whistler (reported by a youthful Henry James), the destruction of Diego Rivera’s Rockefeller Center murals and Richard Nixon’s views on art. More recently writers like E.L. Doctorow and Katha Pollitt have weighed in on the recent culture wars over arts funding and free expression.

Gripping, insightful, and deft, The Distance Between Us by Maggie O'Farrell is a haunting story of the way our families shape our lives, from the award-winning author of Hamnet and The Marriage Portrait. On a cold February afternoon, Stella catches sight of a man she hasn't seen for many years, but instantly recognises. Or thinks she does. At the same moment on the other side of the globe, in the middle of a crowd of Chinese New Year revellers, Jake realises that things are becoming dangerous. They know nothing of one another's existence, but both Stella and Jake flee their lives: Jake in search of a place so remote it doesn't appear on any map, and Stella for a destination in Scotland, the significance of which only her sister, Nina, will understand.

Die Wise does not offer seven steps for coping with death. It does not suggest ways to make dying easier. It pours no honey to make the medicine go down. Instead, with lyrical prose, deep wisdom, and stories from his two decades of working with dying people and their families, Stephen Jenkinson places death at the center of the page and asks us to behold it in all its painful beauty. Die Wise teaches the skills of dying, skills that have to be learned in the course of living deeply and well. Die Wise is for those who will fail to live forever. Dying well, Jenkinson writes, is a right and responsibility of everyone. It is not a lifestyle option. It is a moral, political, and spiritual obligation each person owes their ancestors and their heirs. Die Wise dreams such a dream, and plots such an uprising. How we die, how we care for dying people, and how we carry our dead: this work makes our capacity for a village-mindedness, or breaks it. Table of Contents The Ordeal of a Managed Death Stealing Meaning from Dying The Tyrant Hope The Quality of Life Yes, But Not Like This The Work So Who Are the Dying to You? Dying Facing Home What Dying Asks of Us All Kids Ah, My Friend the Enemy

A Finalist for the 2019 National Book Critics Circle Award in Autobiography "Deliciously bizarre and utterly American.…[A] Coen brothers movie come to life.…I couldn't put it down." —Caitlin Doughty, best-selling author of Smoke Gets in Your Eyes and Will My Cat Eat My Eyeballs? Sounds Like Titanic tells the unforgettable story of how Jessica Chiccehitto Hindman became a fake violinist. Struggling to pay her college tuition, Hindman accepts a dream position in an award-winning ensemble that brings ready money. But the ensemble is a sham. When the group performs, the microphones are off while the music—which sounds suspiciously like the soundtrack to the movie Titanic—blares from a hidden CD player. Hindman, who toured with the ensemble and its peculiar Composer for four years, writes with unflinching candor and humor about her surreal and quietly devastating odyssey. Sounds Like Titanic is at once a singular coming-of-age memoir about the lengths to which one woman goes to make ends meet and an incisive articulation of modern anxieties about gender, class, and ambition.

Director Shion Sono's loose adaptation of the Japanese manga of the same name, follows two teenagers' attempts to survive the aftermath of Japan's 2011 tsunami. Abandoned by his mother, 14-year-old Sumida (Shota Sometani) lives in a boathouse beside a lake and dreams of living a normal life free from his father (Ken Mitsuishi)'s casual beatings. Sharing his dreams of normality is his classmate Chazawa (Fumi Nikaidô), who has a crush on Sumida, even though her feelings are not reciprocated. As the pair try to come to terms with their seemingly bleak futures, events come to a head when Sumida's father taunts him to excess, resulting in a fatally violent altercation. With his dreams now dashed, but eager to make amends to society for his actions, Sumida takes to the streets as a self-styled vigilante, dispensing 'justice' with the aid of a kitchen knife.

Star Trek legend and veteran author William Shatner discusses the meaning of life, finding value in work, and living well whatever your age. "I have always felt," William Shatner says early in his newest memoir, that "like the great comedian George Burns, who lived to 100, I couldn’t die as long as I was booked." And Shatner is always booked. Still, a brief health scare in 2016 forced him to take stock. After mulling over the lessons he's learned, the places he's been, and all the miracles and strange occurrences he's witnessed over the course of an enduring career in Hollywood and on the stage, he arrived at one simple rule for living a long and good life: don't die. It's the only one-size-fits-all advice, Shatner argues in Live Long and..:What I Learned Along the Way, because everyone has a unique life—but, to help us all out, he's more than willing to share stories from his unique life. With a combination of pithy humor and thoughtful vulnerability, Shatner lays out his journey from childhood to peak stardom and all the bumps in the road. (Sometimes the literal road, as in the case of his 2,400-mile motorcycle trip across the country with a bike that didn't function.) William Shatner is one of our most beloved entertainers, and he intends never to stop entertaining. His funny, provocative, and poignant reflections offer an unforgettable read about a remarkable man.