The New York Times bestselling author of Inheritance delivers her most intimate and powerful work: a piercing, life-affirming memoir about marriage and memory, sorrow and love. • "A beautiful book by a writer of rare talent.”— Cheryl Strayed, bestselling author of WILD Hourglass is an inquiry into how marriage is transformed by time—abraded, strengthened, shaped in miraculous and sometimes terrifying ways by accident and experience. With courage and relentless honesty, Dani Shapiro opens the door to her house, her marriage, and her heart, and invites us to witness her own marital reckoning—a reckoning in which she confronts both the life she dreamed of and the life she made, and struggles to reconcile the girl she was with the woman she has become. What are the forces that shape our most elemental bonds? How do we make lifelong commitments in the face of identities that are continuously shifting, and commit ourselves for all time when the self is so often in flux? What happens to love in the face of the unexpected, in the face of disappointment and compromise—how do we wrest beauty from imperfection, find grace in the ordinary, desire what we have rather than what we lack? Drawing on literature, poetry, philosophy, and theology, Shapiro writes gloriously of the joys and challenges of matrimonial life, in a luminous narrative that unfurls with urgent immediacy and sharp intelligence. Artful, intensely emotional work from one of our finest writers.

"A lovely work of writing and a rich scientific exploration of trees, suffused with poetry and humanity. Between Earth and Sky takes us on a journey through the wonders of the forest canopy and the web of spiritual and literal connections we have with trees. Nalini Nadkarni is a unique figure in forest ecology—as a pioneering tree climber and explorer, and a topnotch scientist, she's a hero in a world where heroes don't come around often."—Richard Preston, author of The Wild Trees and The Hot Zone “Besides cutting them, climbing them, and planting them, the urge to anthropomorphize trees, make them into metaphors, and worship them, is practically universal. Many people feel an intimate connection to trees. Nadkarni's scientific, personal, and literary book shows why, on so many levels, this should be so. Although the ancient Chinese thought of humans as the connection between earth and sky, my vote would go to trees.”—Liza Dalby, author of East Wind Melts the Ice “From mosses to giant figs, from nail polish to turpentine, from poetry to rap music, world-acclaimed arbornaut Nadkarni weaves science and story together as she shares her passion for trees, reminding us that forests and humans are inextricably linked.” –Margaret D. Lowman, author of Life in the Treetops and It's a Jungle Up There “I came in from an afternoon of splitting firewood to find this book waiting for me in the mail. It's as wonderful a compendium as one could imagine of all things that make trees such special companions, rooted and steady and patient and full of glory.”—Bill McKibben, author of The Bill McKibben Reader “An epic and lyrical look at trees—an exploration that ranges from molecules and metabolism to ecology, poetry and dance—so breathtaking and eye-opening that it will be impossible to ever look at a tree or think about the world in the same way again.”—Thomas E. Lovejoy, President, The Heinz Center

"A lovely work of writing and a rich scientific exploration of trees, suffused with poetry and humanity. Between Earth and Sky takes us on a journey through the wonders of the forest canopy and the web of spiritual and literal connections we have with trees. Nalini Nadkarni is a unique figure in forest ecology--as a pioneering tree climber and explorer, and a topnotch scientist, she's a hero in a world where heroes don't come around often."--Richard Preston, author of The Wild Trees and The Hot Zone "Besides cutting them, climbing them, and planting them, the urge to anthropomorphize trees, make them into metaphors, and worship them, is practically universal. Many people feel an intimate connection to trees. Nadkarni's scientific, personal, and literary book shows why, on so many levels, this should be so. Although the ancient Chinese thought of humans as the connection between earth and sky, my vote would go to trees."--Liza Dalby, author of East Wind Melts the Ice "From mosses to giant figs, from nail polish to turpentine, from poetry to rap music, world-acclaimed arbornaut Nadkarni weaves science and story together as she shares her passion for trees, reminding us that forests and humans are inextricably linked." -Margaret D. Lowman, author of Life in the Treetops and It's a Jungle Up There "I came in from an afternoon of splitting firewood to find this book waiting for me in the mail. It's as wonderful a compendium as one could imagine of all things that make trees such special companions, rooted and steady and patient and full of glory."--Bill McKibben, author of The Bill McKibben Reader "An epic and lyrical look at trees--an exploration that ranges from molecules and metabolism to ecology, poetry and dance--so breathtaking and eye-opening that it will be impossible to ever look at a tree or think about the world in the same way again."--Thomas E. Lovejoy, President, The Heinz Center

When animals and their symbolic representations—in the Royal Menagerie, in art, in medicine, in philosophy—helped transform the French state and culture. Peter Sahlins's brilliant new book reveals the remarkable and understudied “animal moment” in and around 1668 in which authors (including La Fontaine, whose Fables appeared in that year), anatomists, painters, sculptors, and especially the young Louis XIV turned their attention to nonhuman beings. At the center of the Year of the Animal was the Royal Menagerie in the gardens of Versailles, dominated by exotic and graceful birds. In the unfolding of his original and sophisticated argument, Sahlins shows how the animal bodies of the menagerie and others were critical to a dramatic rethinking of governance, nature, and the human. The animals of 1668 helped to shift an entire worldview in France—what Sahlins calls Renaissance humanimalism toward more modern expressions of classical naturalism and mechanism. In the wake of 1668 came the debasement of animals and the strengthening of human animality, including in Descartes's animal-machine, highly contested during the Year of the Animal. At the same time, Louis XIV and his intellectual servants used the animals of Versailles to develop and then to transform the symbolic language of French absolutism. Louis XIV came to adopt a model of sovereignty after 1668 in which his absolute authority is represented in manifold ways with the bodies of animals and justified by the bestial nature of his human subjects. 1668 explores and reproduces the king's animal collections—in printed text, weaving, poetry, and engraving, all seen from a unique interdisciplinary perspective. Sahlins brings the animals of 1668 together and to life as he observes them critically in their native habitats—within the animal palace itself by Louis Le Vau, the paintings and tapestries of Charles Le Brun, the garden installations of André Le Nôtre, the literary work of Charles Perrault and the natural history of his brother Claude, the poetry of Madeleine de Scudéry, the philosophy of René Descartes, the engravings of Sébastien Leclerc, the transfusion experiments of Jean Denis, and others. The author joins the nonhuman and human agents of 1668—panthers and painters, swans and scientists, weasels and weavers—in a learned and sophisticated treatment that will engage scholars and students of early modern France and Europe and readers broadly interested in the subject of animals in human history.

Whereas many books look at how women's bodies are represented in different religions and cultures around the world, this work explores the site of a woman's voice and identity, her head. The female head threatens to disrupt the classic gender distinctions that link men to speech, identity, and mind while relegating women to silence, anonymity, and flesh. The contributors to this collection argue that the objectification of women as sexual and reproductive bodies results in their symbolic beheading. Decapitation occurs symbolically in myths as well as in actual practices such as veiling, head covering, and cosmetic highlighting, which by sexualizing a woman's face turns it into an extension of her body. The essays explore how similar treatments of the female head find their unique articulation in diverse religious traditions and cultures: in Hindu myths of beheading, in Buddhist and Tantric practices and poetry about the hair of female nuns, in the resistance to veiling by early Christian women at Corinth, in contemporary veiling practices in a Turkish village, in the eroticization of the female mouth in ancient Judaism, and in Greek and Roman cosmetic practices. Together these essays show how the depiction of the female head is critical for an understanding of gender and its influence on other fundamental religious and cultural issues. -- Back cover

"Alexander Nemerov is one of the greatest readers of American visual culture. This book has the revelatory power that only wide-ranging curiosity and true independence of mind can achieve." Richard H. Brodhead President of Duke University and author of Cultures of Letters: Scenes of Reading and Writing in Nineteenth-Century America ; "A benchmark in the writing of art history and in studies of the Civil War, Acting in the Night occupies a category unto itself. It uniquely immerses the reader in a holistic experience of the Civil War and shows Nemerov as a cosummate stylist in the field of American art history."Kathleen Pyne author of Modernism and the Feminine Voice ; "This is a work of criticism that borders on poetry, a brilliant and extremely original book that invites us to rethink to the artistic world we study."Julia Reinhard Lupton author of Thinking with Shakespeare: Essays on Politics and Life ; What can the performance of a single play on one night tell us about the world this event inhabited so briefly? Alexander Nemerov takes a performance of Macbeth in Washington, D.C., on October 17, 1863--with Abraham Lincoln in attendance--to explore this question and illuminate American art, politics, technology, and life as it was being lived. Nemerov's inspiration is Wallace Stevens and his poem "Anecdote of the Jar,"in which a single object organizes the wilderness around it. For Nemerov, that evening's performance of Macbeth reached across the tragedy of civil war to acknowledge the horrors and emptiness of a world it tried and ultimately failed to change. --Book Jacket