Recommended highly by pet lovers around the world, Dog Heaven not only comforts but also brings a tear to anyone who is devoted to a pet. From expansive fields where dogs can run and run to delicious biscuits no dog can resist, Rylant paints a warm and affectionate picture of the ideal place God would, of course, create for man's best friend. The first picture book illustrated by the author, Dog Heaven is enhanced by Rylant's bright, bold paintings that perfectly capture an afterlife sure to bring solace to anyone who is grieving.

    But now Phoebe Harte's twelve-year-old brother is gone, and Phoebe's world has turned upside down. With her trademark candor and compassion, beloved middle-grade writer Barbara Park tells how Phoebe copes with her painful loss in this story filled with sadness, humor—and hope. Chosen by "Publishers Weekly" as one of their Best Books of 1996. "A full-fledged and fully convincing drama."—(Publishers Weekly

    Finally they felt free to discuss and try to understand their unique form of grief, and perhaps most importantly, they felt that they were not alone in their loss.The overwhelming number of letters she received in response to Motherless Daughters prompted Hope Edelman to publish Letters From Motherless Daughters. Reaffirming her precious link with motherless women across the country, Hope presents these moving, honest, and often hopeful letters, along with her own insight, and offers readers a chance to further learn from this loss. Chapters are divided by the number of years since mother loss, and each addresses the significant issues of that stage. Hope also includes information on starting or joining a support group, and offers suggested reading for motherless women. The words of these brave women illustrate the profound pain, the astounding strength, and the undying perseverance to live on, but never outlive the need for one's mother.of police barricades, the razor-sharp line between life and death, the unforgiving chasm

    As a psychologist in a hospital for the terminally ill in Paris, Marie de Hennezel has spent seven years tending to people who are relinquishing their hold on life. She tells the stories of her patients and their families. de Hennezel teaches us how to turn death--our loved ones' or our own--from something lonely and agonizing into a sacred passage. She discusses the importance of an honest reckoning, the value of ritual, the necessity of touch. In imparting these lessons, Intimate Death becomes a guide to living more fully, more intensely, than we had thought possible."Unique...Of all the books I have read about the endings of our lives, this elegiac testimony has taught me the most."--Sherwin B. Nuland, M.D., author of How We Die"The quiet, obvious truths [de Hennezel] discovers in her work--these things have a kind of cumulative power."--Washington Post Book World

    When she first moved downstairs she was still eating, though scantily, more just to taste what we were having than from any genuine desire for food. The point was simply to sit together at the kitchen table and array ourselves like a family again. My mother would gently set herself down in her customary chair near the stove. I sat across from her, my father and sister to my left and right, and crammed in the center was all the food I had made—a spicy codfish stew, say, or a casserole of gingery beef, dishes that in my youth she had prepared for us a hundred times.In Coming Home Again, celebrated novelist Chang-rae Lee, author of On Such a Full Sea and Native Speaker, recalls the year he spent living at home, and learning to cook the Korean dishes of his childhood before his mother died of stomach cancer. An achingly personal story about love, grief and regret, Coming Home Again confronts the decisions we can't take back and the moments we can’t let go with astounding grace and poignancy.Coming Home Again was originally published in The New Yorker, October 16, 1995. Cover design by Adil Dara.

    The first was delivered just eleven days after his daughter's diagnosis of leukemia, the second after her first major relapse nine months later, and the third weeks after her death. The final sermon--a reflection on the process of grieving--was preached three years later.With more than a million copies sold, Tracks of a Fellow Struggler is once again available in a hardcover edition, perfect for gift-giving, or for anyone seeking God's comfort in difficult times to read and cherish.

    THE BIG BOOK OF DEATH looks the Grim Reaper in the face and laughs, with tales of outmoded methods of execution, capital punishment, visits to famous cemeteries, body disposal, weird deaths and stupid murders and more.

    Some of it seems unbelievable but all the reports here are covering behaviors that these people were engaging in willingly (even some of the fatal ones) for the purpose of having some sort of heightened sensory experience. Nearly all of this behavior does NOT involve drugs, focusing more on altered experience through altered body state. Not for the easily squeamish. Despite the extreme subject matter, this volume is highly intelligent and an amazing psychological peek into the fringes of human experiences.

    These four took the nihilism of the movement to its ultimate conclusion, their works are remnants of lives lived to the limit and then cast aside with nonchalance and abandon: Vache died of a drug overdose, Rigaut shot himself, Cravan and Torma simply vanished, their fates still a mystery. Yet their fragmentary works - to which they attached so little importance - still exert a powerful allure and were a vital inspiration for the literary movements that followed them. Vache's bitter humour, Cravan's energetic invective, Rigaut's dandyfied introspection, and Torma's imperturbable asperity: all had their influence. This collection contains biographical introductions to each author as well as personal recollections by their contemporaries.

    Harris' eloquence is exceeded only by the compassion and insight she brings to this perplexing and formative experience.--Vamik D. Volkan, Univ. of Virginia.

    Identifies the counseling needs of the sick, dying, and grieving, including AIDS patients and their families.

    Crunk. As James Dickey, distinguished poet and judge of the competition, says in the foreword, "Here is that rare phenomenon, a writer of instinctive formal vision. His real reverence for the simple objects of the everyday world, their ability to present cup, tree, and hand both as they seem and as they are with a kind of mystical iconic starkness, is a quality uniquely Mr. Crunk's. That this starkness eventually begins to warp into the surreal and ultimately windows into the Luminous Beyond, is additional sanction for gratitude." Reliquaria1. Found Hand-Painted on a Tin Flue CoverRibbon of black crapedraped on a door knob like broken stringshanging from a loom with the words: Weep not.What do I need of this world? 2. S. P. Dinsmoor Describes His TombI have made myself a coffin with a glass lid.By the door of my grave house I have set a cement angel and a stone jug.When I see the host coming down, the lid will—fly open and I will sail out into the air like a locust.If I am called above, the angel will help me—on my way. If I have to go below, I will grab my jugand fill it with water somewhere on the road down. Meantime, every day I pray—O Lordteach me that I am but earth, a hollow vessel of clay,only a wisp of thy breath against my emptiness. 3.They have yet to figure outthe name of the church two men diving in Barkley Lakearound Cain's Mill a few years ago found the whole steeple ofcross and all half-buried in the mud shallows.

    David Robinson's exquisite photographs reveal the angelic beauty and mystery of these lifelike sculptures. In her foreword, Joyce Carol Oates explores the many implications of these grief-stricken, extremely provocative female figures.

    His stylish B thrillers were imitated by a generation of filmmakers such as Richard Wallace, William Castle, and even Walt Disney in his animated Adventures of Ichabod and Mr. Toad (1949). Through interviews with many of Lewton's associates (including his wife and son) and extensive research, his life and output are thoroughly examined.

    While perhaps most familiar in the context of Greek-influenced gods, Roman religious life in fact encompassed a tremendous variety of deities, rites, and belief systems. From the Celtic god Abandinus to the pagan historian Zosimus, Dictionary of Roman Religion contains more than 1,400 entries, covering topics such as festivals, sacrifices, temples, burial rites, deities and spirits, and historical religious events. The different religions are also covered: Mithraism, Druidism, Judaism, and Christianity, which were all part of the Roman religious world. Entries range from brief definitions to concise essays reflecting important aspects of religious practice, and most include suggestions for further reading in addition to a complete bibliography. Complete with illustrations and helpful cross-references, this dictionary is both comprehensive and essential for students and researchers. For those interested in ancient religions, myths and legends, Roman society, and classical studies, this dictionary is a welcome and novel edition to the vast library on ancient Roman life.

    Photographs and other forms of pictorial imagery play an important role in these investigations. "Secure the Shadow" is an original contribution that lies at the intersection of cultural anthropology and visual analysis, a field that Jay Ruby's previous writings have helped to define. It explores the photographic representation of death in the United States from 1840 to the present, focusing on the ways in which people have taken and used photographs of deceased loved ones and their funerals to mitigate the finality of death.Sometimes thought to be a bizarre Victorian custom, photographing corpses has been and continues to be an important, if not recognized, occurrence in American life. It is a photographic activity, like the erotica produced in middle-class homes by married couples, that many privately practice but seldom circulate outside the trusted circle of close friends and relatives. Along with tombstones, funeral cards, and other images of death, these photographs represent one way in which Americans have attempted to secure their shadows.Ruby employs newspaper accounts, advertisements, letters, photographers' account books, interviews, and other material to determine why and how photography and death became intertwined in the nineteenth century. He traces this century's struggle between America's public denial of death and a deeply felt private need to use pictures of those we love to mourn their loss. Americans take and use photographs of dead relatives and friends in spite of and not because of society's expectation about the propriety of these means. Ruby compares photographs and other pictorial media of death, founding his interpretations on the discovery of patterns in the appearance of the images and a reconstruction of the conditions of their production and utilization.

    All of Marguerite Duras's writings are suffused with the certitude that absolute love is both necessary (sex) ... and impossible to achieve (death). But no book of hers embodies this idea so powerfully, so excessively, as No More (C'est Tout), the book she composed during the last year of her life until just days before her death. No More is literature shorn of all its niceties, a shout from the depths of Duras's being, celebrating life in defiance of the death she knew had already entered her immediate future. In part, it is also Duras' raucous salutation welcoming death. No More is a collection of words as pure as poetry and as full-throated as a fish-wife's call to market her wares, a disturbing and lasting challenge to any reader.

    Realistically carved and highly painted, it is both symbolic and functional, for this is the coffin of the chief sardine fisherman of Teshi.