Greenwich Village, 1959. Claire Bishop sits for a portrait -- a gift from her husband -- only to discover that what the artist has actually depicted is Claire's suicide. Haunted by the painting, Claire is forced to redefine herself within a failing marriage and a family history of madness. Shifting ahead to 2004, we meet West, a young man with schizophrenia who is obsessed with a painting he encounters in a gallery: a mysterious image of a woman's suicide. Convinced it was painted by his ex-girlfriend, West constructs an elaborate delusion involving time-travel, Hasidism, art-theft, and the terrifying power of representation. When the two characters finally meet, in the present, delusions are shattered and lives are forever changed. The Suicide of Claire Bishop is a dazzling debut, evocative of Michael Cunningham'sThe Hours (and Virginia Woolf's classicMrs. Dalloway), as well as Donna Tartt's bestsellerThe Goldfinch. With high stakes that reach across American history, Carmiel Banasky effortlessly juggles balls of madness, art theft, and Time itself, holding the reader in a thrall of language and personal consequences. Daring, sexy, emotional,The Suicide of Claire Bishop heralds Banasky as an important new talent.

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

A suicide scandal in Shanghai reveals the social fault lines of democratic visions in China's troubled Republic in the early 1920s. On September 8, 1922, the body of Xi Shangzhen was found hanging in the Shanghai newspaper office where she worked. Although her death occurred outside of Chinese jurisdiction, her US-educated employer, Tang Jiezhi, was kidnapped by Chinese authorities and put on trial. In the unfolding scandal, novelists, filmmakers, suffragists, reformers, and even a founding member of the Chinese Communist Party seized upon the case as emblematic of deep social problems. Xi's family claimed that Tang had pressured her to be his concubine; his conviction instead for financial fraud only stirred further controversy. The creation of a republic ten years earlier had inspired a vision of popular sovereignty and citizenship premised upon gender equality and legal reform. After the quick suppression of the first Chinese parliament, commercial circles took up the banner of democracy in their pursuit of wealth. But, Bryna Goodman shows, the suicide of an educated "new woman" exposed the emptiness of republican democracy after a flash of speculative finance gripped the city. In the shadow of economic crisis, Tang's trial also exposed the frailty of legal mechanisms in a political landscape fragmented by warlords and enclaves of foreign colonial rule. The Suicide of Miss Xi opens a window onto how urban Chinese in the early twentieth century navigated China's early passage through democratic populism, in an ill-fated moment of possibility between empire and party dictatorship. Xi Shangzhen became a symbol of the failures of the Chinese Republic as well as the broken promises of citizen's rights, gender equality, and financial prosperity betokened by liberal democracy and capitalism.

A dazzling new anthology of the very best very short fiction from around the world. What is a flash fiction called in other countries? In Latin America it is a micro, in Denmark kortprosa, in Bulgaria mikro razkaz. These short shorts, usually no more than 750 words, range from linear narratives to the more unusual: stories based on mathematical forms, a paragraph-length novel, a scientific report on volcanic fireflies that proliferate in nightclubs. Flash has always—and everywhere—been a form of experiment, of possibility. A new entry in the lauded Flash and Sudden Fiction anthologies, this collection includes 86 of the most beautiful, provocative, and moving narratives by authors from six continents, including best-selling writer Etgar Keret, Zimbabwean writer Petina Gappah, Korean screenwriter Kim Young-ha, Nobel Prize winner Czeslaw Milosz, and Argentinian “Queen of the Microstory” Ana María Shua, among many others. These brilliantly chosen stories challenge readers to widen their vision and celebrate both the local and the universal.

In the wake of a suicide, the most troubling questions are invariably the most difficult to answer: How could we have known? What could we have done? And always, unremittingly: Why? Written by a clinical psychologist whose own life has been touched by suicide, this book offers the clearest account ever given of why some people choose to die. Drawing on extensive clinical and epidemiological evidence, as well as personal experience, Thomas Joiner brings a comprehensive understanding to seemingly incomprehensible behavior. Among the many people who have considered, attempted, or died by suicide, he finds three factors that mark those most at risk of death: the feeling of being a burden on loved ones; the sense of isolation; and, chillingly, the learned ability to hurt oneself. Joiner tests his theory against diverse facts taken from clinical anecdotes, history, literature, popular culture, anthropology, epidemiology, genetics, and neurobiology--facts about suicide rates among men and women; white and African-American men; anorexics, athletes, prostitutes, and physicians; members of cults, sports fans, and citizens of nations in crisis. The result is the most coherent and persuasive explanation ever given of why and how people overcome life's strongest instinct, self-preservation. Joiner's is a work that makes sense of the bewildering array of statistics and stories surrounding suicidal behavior; at the same time, it offers insight, guidance, and essential information to clinicians, scientists, and health practitioners, and to anyone whose life has been affected by suicide.

Participation in art has become a prevalent and contested phenomenon since the 1990s. Artists have increasingly sought to create situations and events that invite spectators to become active participants, in dialogue both with their context and with each other. This reader charts a historical lineage and theoretical framework for this tendency, presented through the writings of artists, curators and philosophers from the late 1950s to the present--Publisher's description.

The ways we encounter contemporary art and performance is changing. Installations brim with archival documents. Dances stretch for weeks. Performances last a minute. Exhibitions are spread out over thirty venues. There are endless artworks about mid-century architecture and design. How are we expected to engage with today's diverse practise? Is the old model of close-looking still the ideal, or has it given way to browsing, skimming, and sampling? Across four essays, art historian and critic Claire Bishop identifies trends in contemporary practice- research-based installations, performance exhibitions, interventions, and invocations of modernist architecture-and their challenges to traditional modes of attention. Charting a critical path through the last three decades, Bishop pinpoints how spectatorship and visual literacy are evolving under the pressures of digital technology.