Literary Nonfiction. Memoir. Brockelman's book is a loving tribute to his philosopher father as well as an artful exploration of various important philosophical issues that are relevant to everyday life, such as the nature of religious belief, the definition of a "good" life, and the challenge of facing our own mortality. Anyone who has ever wondered "how should I live," or "am I living an honest and worthy life?" should read this book.

This powerful memoir follows a father’s journey to make sense of his world after losing his son to addiction and suicide. Fifteen years ago, Richard Boothby received a fateful call from his ex-wife that their twenty-three-year-old son, Oliver, was dead. Although Richard had been dreading this news, given Oliver’s prolonged struggle with drug dependency, nothing could have prepared him for the devastating shock. He became obsessed with uncovering the truth of why Oliver shot himself—had he been self-medicating an undiagnosed mental illness?—and what they could have done to prevent it. In an attempt to stem the pain, Boothby turned to psychoanalysis. He was no stranger to the concept—as a professor of philosophy, he had focused his career on the intersection between psychoanalytic theory and contemporary philosophy—but this was far from an academic exercise. Through his time in talk therapy, as well as psychedelic experiences in a research study on psilocybin, he would gradually find a sense of acceptance of the unknown, and a renewed appreciation for life. Exploring the epidemics of substance abuse and gun violence from an intimate perspective, Boothby’s poignant account of grief shows how the death of a loved one can in some ways bring us closer to them and ourselves.

Žižek and Heidegger offers a radical new interpretation of the work of Slavoj Žižek, one of the world's leading contemporary thinkers, through a study of his relationship with the work of Martin Heidegger. Thomas Brockelman argues that Žižek's oeuvre is largely a response to Heidegger's philosophy of finitude, an immanent critique of it which pulls it in the direction of revolutionary praxis. Brockelman also finds limitations in Žižek's relationship with Heidegger, specifically in his ambivalence about Heidegger's techno-phobia. Brockelman's critique of Žižek departs from this ambivalence - a fundamental tension in Žižek's work between a historicist critical theory of techno-capitalism and an anti-historicist theory of revolutionary change. In addition to clarifying what Žižek has to say about our world and about the possibility of radical change in it, Žižek and Heidegger explores the various ways in which this split at the center of his thought appears within it - in Žižek's views on history or on the relationship between the revolutionary leader and the proletariat or between the analyst and the analysand.

If the postmodern is a collage--as some critics have suggested--or if collage is itself a kernel of the postmodern, what does this mean for our way of understanding the world? The Frame and the Mirror uses this question to probe the distinctive character of the postmodern situation and the philosophical problem of representation. Brockelman's work is itself a collage of sorts, using juxtapositions of critics and art historical figures to conduct a debate between such figures as Karsten Harries, Gianni Vattimo, Rosalind Krauss, Immanuel Kant, Jean-Francois Lyotard, Slavo Zizek, and Le Corbusier about issues such as truth in art, perspectivism, theatricality, the sublime, psychoanalytic theory, politics, and urbanism. More than an introduction to the postmodern, The Frame and the Mirror advances our understanding of the contemporary world by relating its features to the peculiar characteristics of collage. Ultimately, Brockelman shows how collage demands that we reinterpret modernity, conceiving of it as suspended between a loss of certainty and a new kind of knowledge about the human condition. In doing so, his work challenges many of the claims made in the name of postmodernism--and offers in their place a new and ironic view of the cultural space in which contemporary and historical events occur.

Discover the joys and self-nurturing benefits of plant parenthood, from learning how to begin building your own lush plant family to getting into those fun tips on how to care for your green gurls, with this beautiful, illustrated guide from the dazzling creator of the @plantkween Instagram account. “We all love some new growth, dahling.” Six years ago, Christopher Griffin was just beginning the plant parenthood journey with one small Marble Queen Pothos. Today, this Black Queer non-binary femme plant influencer known as Plant Kween tends to a family of more than 200 healthy green gurls in the Brooklyn apartment they call home. You Grow, Gurl! is Kween’s fun and fabulous guide to becoming a plant parent and keeping your green gurls growing and thriving. Anyone can be a plant parent! It’s all about TLC—taking the time and energy to focus on a plant’s needs, and ultimately your own. Featuring 200 full-color photos and illustrations, practical instructions and tips—on everything from propagating to measuring humidity to repotting—activities, and stories, this fun and joyful guide shows how to green-up any space and have it serving those lush lewks. Self-care takes many forms and tending to your plants’ needs helps you grow too. In addition to information and advice on plant care, Kween provides meditations, mindfulness activities, playlists, and more to help you practice self-care through plant-care. As Kween says, “We can learn a lot about how we treat ourselves, how we treat others, and how we navigate the world from these green lil creatures.” Healing and growing your heart, body, and soul takes time, love, and focus. Taking care of plants teaches you to apply that same attention and love to yourself and helps you find new pathways to explore on your own botanical adventure to self-love.

The story of three young provincials of no great heritage who together helped to destroy a way of life and, in the process, destroyed themselves: Camille Desmoulins, bisexual and beautiful, charming, erratic, untrustworthy; Georges Jacques Danton, hugely but erotically ugly, a brilliant pragmatist who knew how to seize power and use it; and Maximilien Robespierre, "the rabid lamb," who would send his dearest friend to the guillotine. Each, none older than thirty-four, would die by the hand of the very revolution he had helped to bring into being.

Slavoj Žižek is the most popular and discussed philosopher in the world today. His prolific writings – across philosophy, psychoanalysis, political and social theory, film, music and religion – always engage and provoke. The power of his ideas, the breadth of his references, his capacity for playfulness and confrontation, his willingness to change his mind and his refusal fundamentally to alter his argument – all have worked to build an extraordinary international readership as well as to elicit much critical reaction. The Žižek Dictionary brings together leading Žižek commentators from across the world to present a companion and guide to Žižekian thought. Each of the 60 short essays examines a key term and, crucially, explores its development across Žižek’s work and how it fits in with other concepts and concerns. The dictionary will prove invaluable both to readers coming to Žižek for the first time and to those already embarked on the Žižekian journey.