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Flights of fancy and fear, ecstatic highs, dreadful falls, and beckoning skies: these are the images British filmmaker Peter Greenaway collects and dissects in Flying out of This World, the second volume in a series developed by the Louvre and devoted to innovative writing on the visual arts.

As guest curator, Greenaway selected from the Louvre's collection of European prints and drawings ninety-one masterpieces that illustrate the human longing for flight. Greenaway's text, a compilation of brief commentaries that combine description, allusion, and interpretation, illuminate the images as depictions of flight desired and denied. Including works by Redon, Goya, Brueghel, Michelangelo, Mantegna, Rubens, Poussin, and Delacroix, this volume offers a combination of literary and visual art, of sight and insight.

A pursuit through the Bible, classical mythology, cosmology, theology, etymology, ornithology, and meteorology, Flying out of This World is not just an illustrated history of imagined flight, but a meditation on its meaning as a metaphor for the human condition, caught between a weighty body and a soaring spirit.

Let go your keys, let go your gun, let go your good pen and your rings, let your wolf mask go and kiss goodbye your goddess figurine.

With this invocation, María Meléndez beckons us on a journey—an exotic expedition through life’s mysteries in search of the finer strands of experience. In a Latina voice laced with a naturalist’s sense of wonder, she weaves bold images reflecting a world threaded by unseen wounds, now laid before us with an unflinching love of life and an exquisite precision of language. Adopting multiple guises—field researcher, laboring mother, grief-stricken lover—Meléndez casts aside stereotypes and expectations to forge a new language steeped in life and landscape. Whether meditating on a controlled prairie burn or contemplating the turquoise cheek of a fathead minnow, she weaves words and memories into a rich tapestry that resonates with sensual detail and magnifies her sense of maternal wildness, urging us to “Love as much as you / can, don’t throw your heart / away to just one god.” In her paean to the Aztec deity Tonacacihuatl, mother of the gods, Meléndez muses that “How many spirits she’s twin to, and how long she’ll last in this world, / are secrets stashed in the rattle / of corn ears, in the coils / of venomous snakes.”

Through stunning images and stark realism, her poems embrace motherhood and vocation, love and grief, land and life, to bring new meaning to the natural world and how we experience it.

When a life-threatening allergic illness demanded that she eat only organically grown food, writer and professor Mary Swander built a new life in a former one-room Iowa schoolhouse in the middle of the largest Amish community west of the Mississippi. In this rich and engaging memoir, which follows the course of a farmer’s year, she writes from the well-named Fairview School to share the radical transformation of her life.

From her perch in rural Kalona, Iowa, Swander discovers new strength and self-reliance along with a community of hardworking and hospitable neighbors. Raising goats and poultry, participating in barn raisings and auctions, protecting her garden from a plague of grasshoppers, creating a living crèche at Christmastime, all the while laughing at her attempts to wrestle with the pioneer challenges of midwestern winters and summers, she explores what it means to be a lone physical and spiritual homesteader at the end of the twentieth century.

The Vaqueiros de Alzada, a cattle-herding people in the Asturian mountains of Spain, have one of the highest suicide rates in Europe—and an attitude toward death that gives this statistic unusual meaning. This World, Other Worlds considers death among the Vaqueiros as a central cultural fact which reveals local ideas about the origin and destiny of humans, the relations of humans and animals, the configuration of the universe, and the nature of society. Interested chiefly in the conceptual and meaningful aspects of death, María Cátedra focuses on the cultural resources with which the Vaqueiros confront their own mortality—how they experience death and what this reveals about the way they see this world and other worlds.

Applying sensitive ethnographic insight to a rich body of oral testimony, Cátedra discloses an unsuspected symbolic universe native to the Vaqueiros. Death is seen here in close, coherent relation to pain, age, and suffering; sickness and suicide, one must understand the cultural valuation of different ways of dying and the conditions under which suicides take place. To understand what it means to be a Vaqueiro is to understand how suicide can be perceived by a people as acceptable.

A groundbreaking work in European ethnography, This World, Other Worlds takes symbolic analysis to a new level. In its illumination of local conceptions of death, grace, and sainthood, the book also makes a substantial contribution to the anthropology of religion.

In this compelling book, the author alternately recounts the events and details of the 1890 massacre of the Lakota Sioux at Wounded Knee and his participation, one hundred years later, in the commemorative Big Foot Memorial Ride. The counterpoint and contrast between the two events produces a powerful effect; the oral accounts of the survivors of the slaughter are sometimes so brutal that the reader needs to be taken away, if only into the cold and wind of a century later.