Tattooed Memory (La Mémoire tatouée) is the first novel of the great Moroccan critic and novelist Abdelkébir Khatibi (1938-2009). Only one other novels has been translated into English (Love In Two Languages, 1991). Khatibi belongs to the generation following the foundational generation of writers such as Driss Chraïbi. For Khatibi's generation, French colonialism is a vibrant memory - but a memory from childhood. Tattooed Memory is part bildungsroman, part anticolonial treatise, and part language experiment, and it takes us from earliest childhood memory to young adulthood.

Dr Daniel Gibbs is one of 50 million people worldwide with an Alzheimer's disease diagnosis. Unlike most patients with Alzheimer's, however, Dr Gibbs worked as a neurologist for twenty-five years, caring for patients with the very disease now affecting him. Also unusual is that Dr Gibbs had begun to suspect he had Alzheimer's several years before any official diagnosis could be made. Forewarned by genetic testing showing he carried alleles that increased the risk of developing the disease, he noticed symptoms of mild cognitive impairment long before any tests would have alerted him. In this highly personal account, Dr Gibbs documents the effect his diagnosis has had on his life and explains his advocacy for improving early recognition of Alzheimer's. Weaving clinical knowledge from decades caring for dementia patients with his personal experience of the disease, this is an optimistic tale of one man's journey with early-stage Alzheimer's disease. Soon to be a documentary film on MTV/Paramount +.

Gabe Mercer Singer, Rockstar, Asshole He's the one thing from my past I've tried to forget. He is famous now, a rock god. I'm happy being a nobody ... and I wanted to keep it that way I thought I was succeeding until I came face to face with him once more. Harper Jackson Frosty, Unimpressed, Sexy as Sin She made my past bearable, kept me sane long enough to drag myself out of the hell I lived in. I repaid her by breaking her heart and leaving her behind. But now she's back and, even though I know I should stay away from her, I can't. The problem is by forcing Harper to become part of my life ... it might just get one of us killed An all-new contemporary Rockstar Romance series from the author who brought you The Midnight Pack!

A moving portrait of a father and daughter relationship and a case for late-stage creativity from Emily Urquhart, the bestselling author of Beyond the Pale: Folklore, Family, and the Mystery of Our Hidden Genes. “The fundamental misunderstanding of our time is that we belong to one age group or another. We all grow old. There is no us and them. There was only ever an us.” — from The Age of Creativity It has long been thought that artistic output declines in old age. When Emily Urquhart and her family celebrated the eightieth birthday of her father, the illustrious painter Tony Urquhart, she found it remarkable that, although his pace had slowed, he was continuing his daily art practice of drawing, painting, and constructing large-scale sculptures, and was even innovating his style. Was he defying the odds, or is it possible that some assumptions about the elderly are flat-out wrong? After all, many well-known visual artists completed their best work in the last decade of their lives, Turner, Monet, and Cézanne among them. With the eye of a memoirist and the curiosity of a journalist, Urquhart began an investigation into late-stage creativity, asking: Is it possible that our best work is ahead of us? Is there an expiry date on creativity? Do we ever really know when we’ve done anything for the last time? The Age of Creativity is a graceful, intimate blend of research on ageing and creativity, including on progressive senior-led organizations, such as a home for elderly theatre performers and a gallery in New York City that only represents artists over sixty, and her experiences living and travelling with her father. Emily Urquhart reveals how creative work, both amateur and professional, sustains people in the third act of their lives, and tells a new story about the possibilities of elder-hood.

Tattoo Histories is an edited volume which analyses and discusses the relevance of tattooing in the socio-cultural construction of bodies, boundaries, and identities, among both individuals and groups. Its interdisciplinary approach facilitates historical as well as contemporary perspectives. Rather than presenting a universal, essentialized history of tattooing, the volume’s objective is to focus on the entangled and transcultural histories, narratives, and practices related to tattoos. Contributions stem from various fields, including Archaeology, Art History, Classics, History, Linguistics, Media and Literary Studies, Social and Cultural Anthropology, and Sociology. They advance the current endeavour on the part of tattoo scholars to challenge Eurocentric and North American biases prevalent in much of tattoo research, by including various analyses based in locations such as Malaysia, Israel, East Africa, and India. The thematic focus is on the transformative capacity of tattoos and tattooing, with regard to the social construction of bodies and subjectivity; the (re-)creation of social relationships through the definition of (non-)tattooed others; the formation and consolidation of group identities, traditions, and authenticity; and the conceptualization of art and its relevance to tattoo artist–tattooee relations.

Abdelkébir Khatibi is one of the most important voices to emerge from North Africa in postcolonial studies. This book is the first to offer a thoroughgoing analysis in English of all aspects of his multifaceted thought, as it ranges from Moroccan politics to Arabic calligraphy, and from decolonisation to interculturality.

InAutobiography and Independence, Debra Kelly examines four accomplished Francophone North African writers—Mouland Feroan, Assia Djebar, Albert Memmi, and Abdelkeacute;bir Khatibi—to illuminate the complex relationship of a writer's work to cultural and national histories. The legacies of colonialism and the difficulties of nationalism run throughout all four writers' works, yet in their striking individuality, the four demonstrate the ways in which such heritages are refracted through a writer's personal history. This book will be of interest to students of Francophone literature, colonialism, and African history and culture.

Memory Work studies how Jewish children of Holocaust survivors from the English-speaking diaspora explore the past in literary texts. By identifying areas where memory manifests - Objects, Names, Bodies, Food, Passover, 9/11 it shows how the Second Generation engage with the pre-Holocaust family and their parents' survival.

This study of dreaming, death and shared consciousness develops a context that is humanistic, comparative and evidence-based in its engagement with the work of cultural anthropology, ethnomusicology and the study of the imagination. It also reaches into current research on consciousness at the interface of neuroscience, anthropology, sociology, musicology, computer studies, psychology/parapsychology, literature and cognitive studies, in the process of drawing its content from a range of original writing from diverse disciplinary and cultural backgrounds.

Antonio Bernal is a Guatemalan refugee in Los Angeles haunted by memories of his wife and child, who were murdered at the hands of a man marked with yellow ink. In a park near Antonio's apartment, Guillermo Longoria extends his arm and reveals a sinister tattoo—yellow pelt, black spots, red mouth. It is the sign of the death squad, the Jaguar Battalion of the Guatemalan army. This chance encounter between Antonio and his family's killer ignites a psychological showdown between these two men. Each will discover that the war in Central America has migrated with them as they are engulfed by the quemazones—"the great burning" of the Los Angeles riots. A tragic tale of loss and destiny in the underbelly of an American city, The Tattooed Soldier is Pulitzer Prize–winning reporter Héctor Tobar's mesmerizing exploration of violence and the marks it leaves upon us.