Drawing on literary and visual texts spanning from the twelfth century to the present, this volume of essays explores what happens when narratives try to push the boundaries of what can be said about death.

Do liminal embodied experiences such as illness, death and dying affect literary form? In recent years, the concept of embodiment has been theorized from various perspectives. Gender studies have been concerned with the cultural implications of embodiment, arguing to move away from viewing the body as a prediscursive phenomenon to regarding it as an acculturated body. Age studies have extended this view to the embodied experience of ageing, while drawing attention to the ways in which the ageing body, through its materiality and plasticity, restricts the possibilities of (de)constructing subjectivity. These current debates on embodiment find a strong counterpart in literary representation. The contributions to this anthology investigate how and to what extend physical borderline experiences affect literary form.

#1 NEW YORK TIMES BESTSELLER • ONE OF TIME MAGAZINE’S 100 BEST YA BOOKS OF ALL TIME The extraordinary, beloved novel about the ability of books to feed the soul even in the darkest of times. When Death has a story to tell, you listen. It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will become busier still. Liesel Meminger is a foster girl living outside of Munich, who scratches out a meager existence for herself by stealing when she encounters something she can’t resist–books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement. In superbly crafted writing that burns with intensity, award-winning author Markus Zusak, author of I Am the Messenger, has given us one of the most enduring stories of our time. “The kind of book that can be life-changing.” —The New York Times “Deserves a place on the same shelf with The Diary of a Young Girl by Anne Frank.” —USA Today DON’T MISS BRIDGE OF CLAY, MARKUS ZUSAK’S FIRST NOVEL SINCE THE BOOK THIEF.

This collection shows what happens when facing the inevitable and sometimes expected death of a parent, and how such an ordinary part of life as parental death might connect with the children left behind. In many ways, individual deaths are extraordinary and leave a unique legacy – a kind of haunting. The authors' accounts seek to make sense of death through witnessing its enactment and recording its detail. All the authors are experienced researchers in the field of death studies, and their collective expertise encompasses ethnography, psychology, sociology and anthropology. The individual descriptions of death and grief capture the everyday practicalities of managing death and dying, including, for example, the difficulties of caring responsibilities and the realities of dealing with strained family relationships. These accounts show the raw detail of death; they are deeply personal observations framed within critical theories. As established scholars and practitioners that have researched and worked in end-of-life and bereavement care, the authors in this anthology offer a unique perspective on how identity is shaped by a close bereavement. The book employs a strong editorial narrative that blends memoir with theoretical engagement, and will be of interest to death studies scholars, as well as practitioners involved in end-of-life care and bereavement care and anyone who has experienced the death of a parent.

NOBEL PRIZE WINNER • From the author of One Hundred Years of Solitude comes the gripping story of the murder of a young aristocrat that puts an entire society—not just a pair of murderers—on trial. A man returns to the town where a baffling murder took place 27 years earlier, determined to get to the bottom of the story. Just hours after marrying the beautiful Angela Vicario, everyone agrees, Bayardo San Roman returned his bride in disgrace to her parents. Her distraught family forced her to name her first lover; and her twin brothers announced their intention to murder Santiago Nasar for dishonoring their sister. Yet if everyone knew the murder was going to happen, why did no one intervene to stop it? The more that is learned, the less is understood, as the story races to its inexplicable conclusion.

An examination of the ways major novels by Marcel Proust, James Joyce, and Virginia Woolf draw attention to their embodiment in the object of the book, The Death of the Book considers how bookish format plays a role in some of the twentieth century’s most famous literary experiments. Tracking the passing of time in which reading unfolds, these novels position the book’s so-called death in terms that refer as much to a simple description of its future vis-à-vis other media forms as to the sense of finitude these books share with and transmit to their readers. As he interrogates the affective, physical, and temporal valences of literature’s own traditional format and mode of access, John Lurz shows how these novels stage intersections with the phenomenal world of their readers and develop a conception of literary experience not accounted for by either rigorously historicist or traditionally formalist accounts of the modernist period. Bringing together issues of media and mediation, book history, and modernist aesthetics, The Death of the Book offers a new and deeper understanding of the way we read now.

A surprising Revolutionary War tale of a family beset by a mother’s mental illness: “Often gripping…the portrayal of Patrick Henry is unusually complex.”—Publishers Weekly Patrick Henry, the famous statesman of the American Revolution, has a secret: He keeps his wife in the cellar. It’s the only alternative to an asylum, for, slowly losing her mind, Sarah Henry has become a serious danger to herself and her children. Narrated by the Henrys’ two daughters, Patsy and Anne, who must take on new responsibilities, this compassionate novel explores the possibility that Patrick Henry’s immortal cry of “Give me liberty or give me death” may have first been spoken by his wife as she pled for her freedom—and “delivers another intriguing spin on history” from the popular author of young adult fiction (Kirkus Reviews). Includes a reader's guide

In the latest novel in the #1 New York Times bestselling series, homicide detective Eve Dallas sifts through the wreckage of the past to find a killer. The body was left in a dumpster like so much trash, the victim a woman of no fixed address, known for offering paper flowers in return for spare change—and for keeping the cops informed of any infractions she witnessed on the street. But the notebook where she scribbled her intel on litterers and other such offenders is nowhere to be found. Then Eve is summoned away to a nearby building site to view more remains—in this case decades old, adorned with gold jewelry and fine clothing—unearthed by recent construction work. She isn’t happy when she realizes that the scene of the crime belongs to her husband, Roarke—not that it should surprise her, since the Irish billionaire owns a good chunk of New York. Now Eve must enter a complex world of real estate development, family history, shady deals, and shocking secrets to find justice for two women whose lives were thrown away...

An addictively page-turning romance for fans of Before I Fall and The Fault in Our Stars Brie is the “biggest, cheesiest, sappiest romantic” who believes that everyone will find their perfect someone. So when Jacob, the love of Brie's life, tells her he doesn't love her anymore, the news breaks her heart--literally. But now that she's D&G (dead and gone), Brie revisits the living world to discover that her family has begun to unravel and her best friend has been keeping an intimate secret about her boyfriend. Somehow, Brie must handle all of this while navigating through the five steps of grief with the help of Patrick, her mysterious bomber-jacketed guide to the afterlife. But how is she supposed to face the Ever After with a broken heart and no one to call her own? "The debut is a fast, twisty, highly dramatic read about the turbulent nature of love."--Romantic Times "Rothenberg exploes what happens in the afterlife when you aren't quite done with your life."--San Francisco Chronicle "The funniest, sweetest, most heartfelt, sigh-worthy and oh-so-romantic story I've ever read. You'll love it!"--Cynthia Leitich Smith, New York Times bestselling author of Eternal and Blessed

Narrating the Self examines the historical formation of modern Japanese literature through a fundamental reassessment of its most characteristic form, the 'I-novel, ' an autobiographical narrative thought to recount the details of the writer's personal life thinly veiled as fiction. Closely analysing a range of texts from the late nineteenth century through to the present day, the author argues that the 'I-novel' is not a given form of text that can be objectively identified, but a historically constructed reading mode and cultural paradigm that not only regulated the production and reception of literary texts but also defined cultural identity and national tradition. Instead of emphasising, as others have, the thematic and formal elements of novels traditionally placed in this category, she explores the historical formation of a field of discourse in which the 'I-novel' was retroactively created and defined.