When a proponent of a controversial casino project is shot in the woods near her house, all eyes are on Lili Marino. If she doesn't want to trade her gourds for license plates, she'll have to find the real killer in the second novel of this series featuring gourd crafting facts and tips. Original.

A passionate and profane love letter to fall, the best fucking season of the year. Do you get excited at the first brisk breeze of the year? Are you overcome with delight when you see piles of red leaves? Do you lose your fucking mind at a pumpkin patch? At last, the epically funny internet sensation It's Decorative Gourd Season, Motherfuckers is now a visual tour-de-force, teeming with a cornucopia of perfectly paired photos and seasonal enchantments to make it really fucking sing. Whiffy candles, wicker baskets, motherfucking gourd after gourd, and people going insane they love fall so much? Check! Also included: the equally lifechanging meditation It's Rotting Decorative Gourd Season, Motherfuckers, because all good things must end. Give it to everyone you love, or put it on your fucking coffee table next to a pile of shellacked vegetables to really tie the room together. Perfect for: For anyone who fucking loves fall, and fans of McSweeney's, Go the Fuck to Sleep, Deep Thoughts, the Onion, and the New Yorker.

The Shattered Gourd uses the lens of visual art to examine connections between the United States and the Yoruba region of western Nigeria. In Yoruba legend, the sacred Calabash of Being contained the Water of Life; when the gourd was shattered, its fragments were scattered over the ground, death invaded the world, and imperfection crept into human affairs. In more modern times, the shattered gourd has symbolized the warfare and enslavement that culminated in the black diasporas. The "re-membering" of the gourd is represented by the survival of people of African origin all over the Americas, and, in this volume, by their rediscovery of African art forms on the diaspora soil of the United States. Twentieth-century African American artists employing Yoruba images in their work have gone from protest art to the exploration and celebration of the self and the community. But because the social, economic, and political context of African art forms differs markedly from that of American culture, critical contradictions between form and meaning often appear in African American works that use African forms. In this book -- the first to treat Yoruba forms while transcending the conventional emphasis on them as folk art, focusing instead on the high art tradition -- Moyo Okediji uses nearly four dozen works to illustrate a broad thematic treatment combined with a detailed approach to individual African and African American artists. Incorporating works by such artists as Meta Warrick Fuller, Hale Woodruff, Aaron Douglas, Elizabeth Catlett, Ademola Olugebefola, Paul Keene, Jeff Donaldson, Howardena Pindell, Muneer Bahauddeen, Michelle Turner, Michael Harris, Winnie Owens-Hart, and John Biggers, the author invites the reader to envision what he describes as "the immense possibilities of the future, as the twenty-first century embraces the twentieth in a primal dance of the diasporas," a future that heralds the advent of the global as a distinct movement in art, beyond postmodernism.

Vols. for 1892-1941 contain the transactions and proceedings of the society.

To be or not to be—who asks this question today, and how? What does it mean to issue, or respond to, an appeal for the right to die? In A Death of One’s Own, the first sustained literary study of the right to die, Jared Stark takes up these timely questions by testing predominant legal understandings of assisted suicide and euthanasia against literary reflections on modern death from the nineteenth and twentieth centuries. Rigorously interdisciplinary and lucidly argued, Stark’s wide-ranging discussion sheds critical light on the disquieting bioethical and biopolitical dilemmas raised by contemporary forms of medical technology and legal agency. 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.

When murder is served at a California pie shop, the head baker turns amateur sleuth in this New York Times bestselling author’s cozy mystery series debut. After moving to the California coast with her fiancé, Valentine Harris thought her dream of running her own business was just pie in the sky. Five months and a broken engagement later, Val is still in San Nicholas—and running her own pie shop. But when one of her regulars keels over at the counter while eating a quiche, Val feels like she's living a nightmare. After the police determine the customer was poisoned, business at Pie Town drops faster than a fallen crust. Convinced they’re both suspects, Val's flaky, seventy-something assistant Charlene drags her boss into some amateur sleuthing. At first Val dismisses Charlene’s half-baked hypotheses, but before long the ladies uncover some shady dealings hidden in fog-bound San Nicholas. Now Val must expose the truth—before a crummy killer tries to shut her pie hole.

"A wonderful introduction the Japanese tradition of jisei, this volume is crammed with exquisite, spontaneous verse and pithy, often hilarious, descriptions of the eccentric and committed monastics who wrote the poems." --Tricycle: The Buddhist Review Although the consciousness of death is, in most cultures, very much a part of life, this is perhaps nowhere more true than in Japan, where the approach of death has given rise to a centuries-old tradition of writing jisei, or the "death poem." Such a poem is often written in the very last moments of the poet's life. Hundreds of Japanese death poems, many with a commentary describing the circumstances of the poet's death, have been translated into English here, the vast majority of them for the first time. Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined--from the longing poems of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries. Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.