A SCHOLARLY BOOK REPOSITORY
“An act of courage and a public service.”—San Francisco Chronicle
“This beautifully synthesized and disquieting account of how hospital patients die melds disciplined description with acute analysis, incorporating the voices of doctors, nurses, social workers, and patients in a provocative analysis of the modern American quest for a ‘good death.’”—Publishers Weekly
“Kaufman exposes the bureaucratic and ethical quandaries that hover over the modern deathbed.”—Psychology Today
“Kaufman’s analysis illuminates the complexity of the care of critically ill and dying patients [and] the ambiguity of slogans such as ‘death with dignity,’ ‘quality of life,’ and ‘stopping life support.’ . . . Thought-provoking reading for everyone contemplating the fate of us all.”—New England Journal of Medicine
Why did the Confederacy lose so many men? The authors contend that the Confederates bled themselves nearly to death in the first three years of the war by making costly attacks more often than the Federals. Offensive tactics, which had been used successfully by Americans in the Mexican War, were much less effective in the 1860s because an improved weapon—the rifle—had given increased strength to defenders. This book describes tactical theory in the 1850s and suggests how each related to Civil War tactics. It also considers the development of tactics in all three arms of the service during the Civil War.
In examining the Civil War the book separates Southern from Northern tactical practice and discusses Confederate military history in the context of Southern social history. Although the Southerners could have offset their numerical disadvantage by remaining on the defensive and forcing the Federals to attack, they failed to do so. The authors argue that the Southerners’ consistent favoring of offensive warfare was attributable, in large measure, to their Celtic heritage: they fought with the same courageous dash and reckless abandon that had characterized their Celtic forebears since ancient times. The Southerners of the Civil War generation were prisoners of their social and cultural history: they attacked courageously and were killed—on battlefields so totally defended by the Federals that “not even a chicken could get through.”
In 1986 Soviet Ukraine, two boys and two girls are welcomed into the world in a Donetsk maternity ward. Following a Soviet tradition of naming things after prominent Communist leaders from far away, a local party functionary offers great material benefits for naming children after Ernst Thälmann, the leader of the German Communist Party from 1925 to 1933. The fateful decision is made, and the local newspaper presents the newly born Ernsts and Thälmas in a photo on the front page, forever tying four families together.
In Cecil the Lion Had to Die, Olena Stiazhkina follows these families through radical transformations when the Soviet Union unexpectedly implodes, independent Ukraine emerges, and neoimperial Russia occupies Ukraine’s Crimea and parts of the Donbas. Just as Stiazhkina’s decision to transition to writing in Ukrainian as part of her civic stance—performed in this book that begins in Russian and ends in Ukrainian—the stark choices of family members take them in different directions, presenting a multifaceted and nuanced Donbas.
A tour de force of stylistic registers, intertwining stories, and ironic voices, this novel is a must-read for those who seek deeper understanding of how Ukrainian history and local identity shapes war with Russia.
More than a survey or work of advocacy, A Death of One’s Own examines the consequences and limits of the three reasons most often cited for supporting a person’s right to die: that it is justified as an expression of personal autonomy or self-ownership; that it constitutes an act of self-authorship, of “choosing a final chapter” in one’s life; and that it enables what has come to be called “death with dignity.” Probing the intersections of law and literature, Stark interweaves close discussion of major legal, political, and philosophical arguments with revealing readings of literary and testimonial texts by writers including Balzac, Melville, Benjamin, and Améry.
A thought-provoking work that will be of interest to those concerned with law and humanities, biomedical ethics, cultural history, and human rights, A Death of One’s Own opens new and suggestive paths for thinking about the history of modern death as well as the unsettled future of the right to die.
“Friend, asshole, angel, mutant,” singer-songwriter Vic Chesnutt “came along and made us gross and broken people seem . . . I dunno, cooler, I guess.” A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded seventeen critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut. In 2006, NPR placed him in the top five of the ten best living songwriters, along with Bob Dylan, Tom Waits, Paul McCartney, and Bruce Springsteen. Chesnutt’s songs have also been covered by many prominent artists, including Madonna, the Smashing Pumpkins, R.E.M., Sparklehorse, Fugazi, and Neutral Milk Hotel.
Kristin Hersh toured with Chesnutt for nearly a decade and they became close friends, bonding over a love of songwriting and mutual struggles with mental health. In Don’t Suck, Don’t Die, she describes many seemingly small moments they shared, their free-ranging conversations, and his tragic death. More memoir than biography, Hersh’s book plumbs the sources of Chesnutt’s pain and creativity more deeply than any conventional account of his life and recordings ever could. Chesnutt was difficult to understand and frequently difficult to be with, but, as Hersh reveals him, he was also wickedly funny and painfully perceptive. This intimate memoir is essential reading for anyone interested in the music or the artist.
Based on the author’s interviews with relatives of murdered women, If I Die in Juárez is brilliantly crafted to give readers the experience of walking in the shoes of women who daily risk being abducted and murdered in the “capital city of murdered women,” joining thousands of others who for more than a decade have disappeared from Juárez, las desaparecidas, brutally murdered by assassins who have gone unpunished. The agony of one of the darkest tales in human history brings to light a strange hope, illusive yet constant, resisting lies, betrayal, and the desert’s silent sentence of death.
Read an in-depth review of If I Die in Juárez here or click here for a study guide. If I Die in Juárez was also reviewed on KNAU's Southwest Book Review program. Listen here!
Was it this mindset that powered the sudden eruption of the Vikings onto the European scene? Was it a belief in heroic death that made them so lastingly successful against so many bellicose opponents? Weighing the evidence of sagas and poems against the accounts of the Vikings’ victims, Tom Shippey considers these questions as he plumbs the complexities of Viking psychology. Along the way, he recounts many of the great bravura scenes of Old Norse literature, including the Fall of the House of the Skjoldungs, the clash between the two great longships Ironbeard and Long Serpent, and the death of Thormod the skald. One of the most exciting books on Vikings for a generation, Laughing Shall I Die presents Vikings for what they were: not peaceful explorers and traders, but warriors, marauders, and storytellers.
The life of Marina Tsvetaeva (1892–1941) coincided with turbulent years in Russian history. She was an eminent Russian poet and a passionate lover involved with several men at the same time, including Rilke, who chose Lou Andreas-Salomé over her, and Pasternak, who married someone else, but protected her until her death. Her life included many trials such as her poverty during the grueling Russian civil war, her young daughter’s death from hunger in an orphanage, and the death of her husband, who fought against the Communist regime and was executed by the Soviet state. Rejected by official poets, then by the wealthy Russian diaspora in France, she finally returned to her country to end her wandering life. She hanged herself from a rope in an attic from which she could see the field where she had dug with bare hands for potatoes abandoned by local farmers. A poet-martyr of the Stalinist era—buried in an unmarked plot in the cemetery of Yelabuga—Tsvetaeva is brought to life in this poetic biographical novel by celebrated Lebanese author Vénus Khoury-Ghata.
It was here that both the Union and Confederate armies lost over one-quarter of their forces in battle casualties. The Confederacy's defeat at Stones River unleashed a wave of dissension that crippled the army's high command and ultimately closed Tennessee to the South for two years. The loss deterred the British and French from coming to the aid of the South in the Civil War, with tragic effects for the Southern cause.
In the 126 years since the guns fell silent at Stones River, few books have examined the bloody clash and its impact on the war's subsequent outcome. No Better Place to Die recounts the events and strategies that brought the two armies to the banks of this central Tennessee river on December 31, 1862. Cozzens re-creates the battle itself, following the movements and performance of individual regiments. A series of maps clarifies the combat activity.
Cozzens frequently lets the men who fought the battle speak for themselves, through letters, diaries, memoirs, and battlefield communications. Here we learn about such critical moments as General Philip Sheridan's gallant defense along the Wilkinson Pike, one of the war's most tenacious stands against overwhelming odds, and the bravery in battle exemplified by Brekenridge's attack on the Union left, a doomed assault with the poignancy of Pickett's charge.
Over twenty thousand Union and Confederate soldiers were killed, wounded, or captured in the bloody New Year's battle of Stone's River. The impact of their struggle extended far beyond the thousands of shattered human lives, ultimately imperiling the fortunes of the Confederacy. No Better Place to Die pays tribute to the heroes, the scoundrels, the mistakes, the bravery, and the grief at Stone's River.
In The Power to Die, Terri L. Snyder excavates the history of slave suicide, returning it to its central place in early American history. How did people—traders, plantation owners, and, most importantly, enslaved men and women themselves—view and understand these deaths, and how did they affect understandings of the institution of slavery then and now? Snyder draws on ships’ logs, surgeons' journals, judicial and legislative records, newspaper accounts, abolitionist propaganda and slave narratives, and many other sources to build a grim picture of slavery’s toll and detail the ways in which suicide exposed the contradictions of slavery, serving as a powerful indictment that resonated throughout the Anglo-Atlantic world and continues to speak to historians today.
There are few issues more divisive than what has become known as “the right to die.” One camp upholds “death with dignity,” regarding the terminally ill as autonomous beings capable of forming their own judgment on the timing and process of dying. The other camp advocates “sanctity of life,” regarding life as intrinsically valuable, and that should be sustained as long as possible. Is there a right answer?
Raphael Cohen-Almagor takes a balanced approach in analyzing this emotionally charged debate, viewing the dispute from public policy and international perspectives. He offers an interdisciplinary, compelling study in medicine, law, religion, and ethics. It is a comprehensive look at the troubling question of whether physician-assisted suicide should be allowed. Cohen-Almagor delineates a distinction between active and passive euthanasia and discusses legal measures that have been invoked in the United States and abroad. He outlines reasons non-blood relatives should be given a role in deciding a patient’s last wishes. As he examines euthanasia policies in the Netherlands and the 1994 Oregon Death with Dignity Act, the author suggests amendments and finally makes a circumscribed plea for voluntary physician-assisted suicide.
Through interviews with indigenous peoples and records of the elite discourse that suppressed the expression of cultural differences and rationalized the destruction of Indian communities, Gould tells a story of cultural loss. Land expropriation and coerced labor led to cultural alienation that shamed the indigenous population into shedding their language, religion, and dress. Beginning with the 1870s, Gould historicizes the forces that prompted a collective movement away from a strong identification with indigenous cultural heritage to an “acceptance” of a national mixed-race identity.
By recovering a significant part of Nicaraguan history that has been excised from the national memory, To Die in This Way critiques the enterprise of third world nation-building and thus marks an important step in the study of Latin American culture and history that will also interest anthropologists and students of social and cultural historians.
The authors, who include Louisa May Alcott and Mark Twain, depict the horrors of the battlefield, the suffering in prison camps and field hospitals, and the privations of the home front. In these pages, bushwhackers carry the war to out-of-the-way homesteads, spies work households from the inside, journeying paymasters rely on the kindness of border women, and soldiers turn out to be girls. The stories are populated with nurses, officers, speculators, preachers, slaves, and black troops, and they take place in cities, along the frontier, and on battlefields from Shiloh to Gettysburg.
The book opens with a prewar vigilante attack on the Underground Railroad and a Kansas parson in Henry King’s “The Cabin at Pharoah’s Ford” and concludes with an ex-slave recalling the loss of her remaining son in Twain’s “A True Story.” In between are stories written by both women and men that were published in magazines from the South and West as well as the culturally dominant Northeast. Wartime wood engravings highlight the text. Kathleen Diffley’s introduction provides literary and historical background, and her commentary introduces readers to magazine authors as well as the deepening disruptions of a country at war.
Just as they did for nineteenth-century readers, these stories will bring the war home to contemporary readers, giving shape to a crisis that rocked the nation then and continues to haunt it now.
To Live and Die in America details how the United States has among the worst indicators of health in the industrialised world and at the same time spends significantly more on its health care system than any other industrial nation.
Robert Chernomas and Ian Hudson explain this contradictory phenomenon as the product of the unique brand of capitalism that has developed in the US. It is this particular form of capitalism that created both the social and economic conditions that largely influence health outcomes and the inefficient, unpopular and inaccessible health care system that is incapable of dealing with them.
The authors argue that improving health in America requires a change in the conditions in which people live and work as well as a restructured health care system.
Focusing on a representative sample of emigrants, Zimring identifies two subgroups: “adoptive southerners,” individuals born and raised in a state above the Mason-Dixon line but who but did not necessarily join the Confederacy after they moved south, and “Northern Confederates,” emigrants who sided with the Confederacy during the Civil War. After analyzing statistical data on states of origin, age, education, decade of migration, and, most importantly, the reasons why these individuals embarked for the South in the first place, Zimring goes on to explore the prewar lives of adoptive southerners, the adaptations they made with regard to slavery, and the factors that influenced their allegiances during the secession crisis. He also analyzes their contributions to the Confederate military and home front, the emergence of their Confederate identities and nationalism, their experiences as prisoners of war in the North, and the reactions they elicited from native southerners.
In tracing these journeys from native northerner to Confederate veteran, this book reveals not only the complex transformations of adoptive southerners but also the flexibility of sectional and national identity before the war and the loss of that flexibility in its aftermath. To Live and Die in Dixie is a thought-provoking work that provides a novel perspective on the revolutionary changes the Civil War unleashed on American society.
David Ross Zimring is an adjunct professor of history at the University of Maryland, Baltimore County and Montgomery College. He has published in West Virginia History and the Journal of Southern History.
A Foreign Affairs Best Book of the Year
Winner of the AATSEEL Prize for Best Book in Cultural Studies
Winner of the Laura Shannon Prize in Contemporary European Studies
Winner of the Marshall D. Shulman Book Prize
Winner of the Wayne S. Vucinich Book Prize
The Soviet Union was a notoriously closed society until Stalin’s death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West.
At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss.
Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings.
With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd’s history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.
Responding to his brother’s plea for the sons of Maine to join the Union cause, Charles found himself a noncommissioned officer fighting in the disastrous Battle of First Bull Run. All told, Howard fought in several major battles of the Eastern Theater, including Antietam, Fredericksburg, Chancellorsville, and Gettysburg, and went on to participate in various military actions in the Western Theater including Sherman’s bloody Atlanta Campaign. He was wounded twice, first at the Battle of Fair Oaks and again at Fredericksburg. Yet, despite facing the worst horrors of war, Howard rarely wavered in his faith and rose steadily in rank throughout the conflict. By war’s end, he was a brevet brigadier general in command of the 128th U.S. Colored Troop Regiment.
Howard’s letters cover a wide-ranging period, from 1852 to 1908. His concern for his family is typical of a Civil War soldier, but his exceptionally firm reliance on divine providence is what makes these letters an extraordinary window into the mind of a Civil War officer. Howard’s grounded faith was often tested by the viciousness of war, and as a result his letters are rife with stirring confessions and his emotional grappling with the harsh realities he faced. Howard’s letters expose the greater theological and metaphysical dilemmas of the war faced by so many on both sides.
In engaging, direct prose, Jacobsen’s three-and-a-half year experience as a prisoner of war takes the reader on a brutal and harrowing march through hatred and forgiveness, fortitude and freedom. We Refused to Die is an honest memoir that shines light on one of history’s darkest moments.
When I Came to Die suggests that throughout his writings, Thoreau communicated that knowing how to die properly is an art and a lifelong study, a perspective that informed his ideas about politics, nature, and individualism. With this insight, Raden opens a dialogue that will engage both Thoreauvians and those interested in American literature and thought.
These are more than questions for policy and law. They are one way of getting a handle on how our culture understands what makes life worth preserving and of delving into its complex calculus of punishment and retribution. Who Deserves to Die? brings together a distinguished group of death penalty scholars to assess the forms of legal subjectivity and legal community that are supported and constructed by the doctrines and practices of punishment by death in the United States. They help us understand what we do and who we become when we decide who is fit for execution.
In addition to the editors, contributors include Vanessa Barker, Thomas L. Dumm, Daniel Markel, Linda Meyer, Ruth A. Miller, Ravit Reichman, Susan R. Schmeiser, Mateo Taussig-Rubbo, and Robert Weisberg.
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