Death Embraced is like no other book you have ever read. Fascinating and entertaining, it leads readers to ponder issues that should not be avoided. Some may want to use it as a guide to visiting New Orleans graveyards . . . or as a guide to life. "An amazing book by an even more amazing writer, historian and educator with vast knowledge of the Crescent City's history and an intimate understanding of many of the Big Easy's lesser-known cultural traditions and customs. A must-read for anyone who is serious about learning the true history of New Orleans. I dare you to try to put it down after reading its first few pages." -Edmund W. Lewis, Editor, The Louisiana Weekly "A gem of a book, full of little things you didn't know you wanted to know. With subtitle wit and serious depth of knowledge, Mary LaCoste shares the down and dirty of one of New Orleans most mysterious institutions." -Liz Scott, New Orleans Magazine

In this volume, the author explores how modern American funerals and their accompanying rituals have evolved into affairs that help the living with the healing process. Thursby suggests that there is irony in the festivities surrounding death.

A beautifully packaged edition of one of García Márquez's most beloved novels, with never-before-seen color illustrations by the Chilean artist Luisa Rivera and an interior design created by the author's son, Gonzalo García Barcha. In their youth, Florentino Ariza and Fermina Daza fall passionately in love. When Fermina eventually chooses to marry a wealthy, well-born doctor, Florentino is devastated, but he is a romantic. As he rises in his business career he whiles away the years in 622 affairs—yet he reserves his heart for Fermina. Her husband dies at last, and Florentino purposefully attends the funeral. Fifty years, nine months, and four days after he first declared his love for Fermina, he will do so again.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.