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When the dead need to talk, Alex Craft is always ready to listen… As a Grave Witch, Alex solves murders by raising the dead—an ability that comes at a cost, and after her last few cases, that cost is compounding. But her magic isn’t the only thing causing havoc in her life. While she’s always been on friendly terms with Death himself, things have recently become a whole lot more close and personal. Then there’s her sometime partner, agent Falin Andrews, who is under the glamour of the Winter Queen. To top everything off, her best friend has been forever changed by her time spent captive in Faerie. But the personal takes a backseat to the professional when a string of suicides occur in Nekros City and Alex is hired to investigate. The shades have no memory of the days leading up to their brutal endings, so despite the very public apparent suicides, this is murder. But what kind of magic can overcome the human will to survive? And why do the shades lack the memory of their deaths? Searching for the answer might mean Alex won’t have a life to remember at all…
WINNER OF THE 2022 PULITZER PRIZE "A compelling and important history that this nation desperately needs to hear." -Bryan Stevenson, New York Times bestselling author of Just Mercy and executive director of the Equal Justice Initiative Chasing Me to My Grave presents the late artist Winfred Rembert's breathtaking body of work alongside his story, as told to Tufts Philosopher Erin I. Kelly. Rembert grew up in a family of Georgia field laborers, joined the Civil Rights Movement as a teenager, survived a near-lynching at the hands of law enforcement, and spent seven years on chain gangs. There he learned the leather tooling skills that became the bedrock of his autobiographical paintings. Years later, encouraged by his wife, Patsy, Rembert brought his past to vibrant life in scenes of joy and terror, from the promise of southern Black commerce to the brutality of chain gang labor. Vivid, confrontational, revelatory, and complex, Chasing Me to My Grave is a searing memoir in prose and painted leather that celebrates Black life and summons readers to confront painful and urgent realities at the heart of American society. Booklist #1 Nonfiction Book of the Year * African American Literary Book Club (AALBC) #1 Nonfiction Bestseller * Named a Best Book of the Year by: NPR, Publishers Weekly, BookPage, Barnes & Noble, Hudson Booksellers, ARTnews, and more * Amazon Editors' Pick * Carnegie Medal of Excellence Longlist
A memoir and book of mourning, a grandson’s attempt to reconcile his own uncontested citizenship with his grandfather’s lifelong struggle. A memoir and book of mourning, a grandson’s attempt to reconcile his own uncontested citizenship with his grandfather’s lifelong struggle. Award-winning poet Brandon Shimoda has crafted a lyrical portrait of his paternal grandfather, Midori Shimoda, whose life—child migrant, talented photographer, suspected enemy alien and spy, desert wanderer, American citizen—mirrors the arc of Japanese America in the twentieth century. In a series of pilgrimages, Shimoda records the search to find his grandfather, and unfolds, in the process, a moving elegy on memory and forgetting. Praise for The Grave on the Wall: "Shimoda brings his poetic lyricism to this moving and elegant memoir, the structure of which reflects the fragmentation of memories. … It is at once wistful and devastating to see Midori's life come full circle … In between is a life with tragedy, love, and the horrors unleashed by the atomic bomb."—Booklist, starred review "In a weaving meditation, Brandon Shimoda pens an elegant eulogy for his grandfather Midori, yet also for the living, we who survive on the margins of graveyards and rituals of our own making."—Karen Tei Yamashita, author of Letters to Memory "Sometimes a work of art functions as a dream. At other times, a work of art functions as a conscience. In the tradition of Juan Rulfo’s Pedro Páramo, Brandon Shimoda's The Grave on the Wall is both. It is also the type of fragmented reckoning only America could instigate."—Myriam Gurba, author of Mean “Within this haunted sepulcher built out of silence, loss, and grief—its walls shadowed by the traumas of racial oppression and violence—a green river lined with peach trees flows beneath a bridge that leads back to the grandson."—Jeffrey Yang, author of Hey, Marfa: Poems "It is part dream, part memory, part forgetting, part identity. It is a remarkable exploration of how citizenship is forged by the brutal US imperial forces—through slave labor, forced detention, indiscriminate bombing, historical amnesia and wall. If someone asked me, Where are you from? I would answer, From The Grave on the Wall."—Don Mee Choi, author of Hardly War "Shimoda intercedes into the absences, gaps and interstices of the present and delves the presence of mystery. This mystery is part of each of us. Shimoda outlines that mystery in silence and silhouette, in objects left behind at site-specific travels to Japan and in the disparate facts of his grandpa’s FBI file. Gratitude to Brandon Shimoda for taking on the mystery which only literature accepts as the basic challenge."—Sesshu Foster, author of City of the Future "Shimoda is a mystic writer … He puts what breaches itself (always) onto the page, so that the act of writing becomes akin to paper-making: an attention to fibers, coagulation, texture and the water-fire mixtures that signal irreversible alteration or change. … he has written a book that touches the bottom of my own soul."—Bhanu Kapil, author of Ban en Banlieue "The Grave on the Wall is a passage of aching nostalgia and relentless assembly out of which something more important than objective truth is conjured—a ritual frisson, a veracity of spirit. I am grateful to have traveled along.”—Trisha Low, The Believer
Christ Church Philadelphia and its Burial Ground is the final resting place of seven signers of the Declaration of Independence and five signers of the U.S. Constitution, the most famous burial being Benjamin Franklin. Also buried on church grounds are early American leaders, prominent lawyers, medical pioneers, and military heroes. In 1864, Church Warden Edward Clark compiled this book of all visible inscriptions in and around the church and at the 5th Street Burial Ground.
- How do the living maintain ongoing relationships with the dead in Western societies? - How have the residual belongings of the dead been used to evoke memories? - Why has the body and its material environment remained so important in memory-making? Objects, images, practices, and places remind us of the deaths of others and of our own mortality. At the time of death, embodied persons disappear from view, their relationships with others come under threat and their influence may cease. Emotionally, socially, politically, much is at stake at the time of death. In this context, memories and memory-making can be highly charged, and often provide the dead with a social presence amongst the living. Memories of the dead are a bulwark against the terror of forgetting, as well as an inescapable outcome of a life's ending. Objects in attics, gardens, museums, streets and cemeteries can tell us much about the processes of remembering. This unusual and absorbing book develops perspectives in anthropology and cultural history to reveal the importance of material objects in experiences of grief, mourning and memorializing. Far from being ‘invisible', the authors show how past generations, dead friends and lovers remain manifest - through well-worn garments, letters, photographs, flowers, residual drops of perfume, funerary sculpture. Tracing the rituals, gestures and materials that have been used to shape and preserve memories of personal loss, Hallam and Hockey show how material culture provides the deceased with a powerful presence within the here and now.
Cemeteries are places where we preserve the memory of family and friends. This collection of color and black and white photographs examines how people create and interact with memorials for those who have died.
When the dead need to talk, Alex Craft is always ready to listen… As a Grave Witch, Alex solves murders by raising the dead—an ability that comes at a cost, and after her last few cases, that cost is compounding. But her magic isn’t the only thing causing havoc in her life. While she’s always been on friendly terms with Death himself, things have recently become a whole lot more close and personal. Then there’s her sometime partner, agent Falin Andrews, who is under the glamour of the Winter Queen. To top everything off, her best friend has been forever changed by her time spent captive in Faerie. But the personal takes a backseat to the professional when a string of suicides occur in Nekros City and Alex is hired to investigate. The shades have no memory of the days leading up to their brutal endings, so despite the very public apparent suicides, this is murder. But what kind of magic can overcome the human will to survive? And why do the shades lack the memory of their deaths? Searching for the answer might mean Alex won’t have a life to remember at all…
Supervised sequence labelling is a vital area of machine learning, encompassing tasks such as speech, handwriting and gesture recognition, protein secondary structure prediction and part-of-speech tagging. Recurrent neural networks are powerful sequence learning tools—robust to input noise and distortion, able to exploit long-range contextual information—that would seem ideally suited to such problems. However their role in large-scale sequence labelling systems has so far been auxiliary. The goal of this book is a complete framework for classifying and transcribing sequential data with recurrent neural networks only. Three main innovations are introduced in order to realise this goal. Firstly, the connectionist temporal classification output layer allows the framework to be trained with unsegmented target sequences, such as phoneme-level speech transcriptions; this is in contrast to previous connectionist approaches, which were dependent on error-prone prior segmentation. Secondly, multidimensional recurrent neural networks extend the framework in a natural way to data with more than one spatio-temporal dimension, such as images and videos. Thirdly, the use of hierarchical subsampling makes it feasible to apply the framework to very large or high resolution sequences, such as raw audio or video. Experimental validation is provided by state-of-the-art results in speech and handwriting recognition.