*A GOOD MORNING AMERICA BOOK CLUB PICK* *A GLOBE AND MAIL BEST BOOK* “[A] winsome, large-hearted novel ... [Still Life] pulses from the page.” —Entertainment Weekly Set between World War II and the 1980s, Still Life is a beautiful, big-hearted story of strangers brought together by love, war, art, flood, and the ghost of E. M. Forster, from the bestselling, prize-winning author of Tin Man and When God Was a Rabbit. In the wine-cellar of a Tuscan villa, as the Allies advance and bombs fall around them, two people meet and share an extraordinary evening: Ulysses Temper is a young British soldier from London's East End; Evelyn Skinner is a worldly older art historian and possible spy. She has come to Italy to rescue paintings from the ruins and relive her memories of the time she encountered E.M. Forster and had her heart stolen by an Italian maid in a particular Florentine room with a view. Evelyn's talk of truth and beauty plants a seed in Ulysses's mind that night, one that will shape the trajectory of his life—and the lives of those who love him—for the next four decades. Moving from war-ravaged Tuscany to the boozy confines of The Stoat and Parrot pub in London and the piazzas of post-war Florence, Still Life is both sweeping and intimate, mischievous and deeply felt. It is a novel about beauty, love and fate, about the things that make life worth living, and the things we're prepared to die for.

Still Life: Suspended Development in the Victorian Novel rethinks the nineteenth-century aesthetics of agency through the Victorian novel's fascination with states of reverie, trance, and sleep. These states challenge contemporary scientific and philosophical accounts of the perfectibility of the self, which privileged reflective self-awareness. In dialogue with the field of literature and science studies and affect studies, this book shows how Victorian writers used narrative form to respond to the analytical practices and knowledge production of those other disciplines. Drawing upon canonical texts--by Charlotte Brontë, George Eliot, George Meredith, and Thomas Hardy--Still Life contends that depictions of non-purposive perceptual experience suspend the processes of self-cultivation (Bildung) central to Victorian aesthetics, science, psychology, and political theory, as well as most critical accounts of the novel form. Departing from the values of individual cultivation and moral revelation associated with the genre, these writers offer an affective framework for understanding the subtly non-instrumental powers of narrative. Victorian novels ostensibly working within the parameters of the Bildungsroman are suspended by moments of "still life": a decentered lyricism associated with states of diminished consciousness. They use this style to narrate what should be unnarratable: experiences not dependent on reflective consciousness, which express a distinctive ambivalence toward dominant developmental frameworks of individual self-culture.

Explores the 'still life spirit' in modern painting, prose, dance, sculpture and poetryChallenges the conventional positioning of still life a 'minor' genre in art historyProposes a radical alternative to narratives of modernism that privilege speed and motion by revealing forms of stillness and still life at the heart of modern literature and visual cultureProvides the first study of still life to consider the genre across modern literature, visual cultures and danceUncovers connections and cultural exchange between networks of European and American artists including the Bloomsbury Group and Wallace StevensThe late nineteenth and early twentieth centuries have been characterised as the 'age of speed' but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It ranges widely in its material, taking Czanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris. Claudia Tobin reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement: the still life emerges charged with animation, vibration and rhythm; an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.

As an artist, writer, teacher, wife, and mother of two young girls, Claire struggles to maintain balance. Institutionalized for manic-depression as a result of her third suicide attempt, Claire is confined both in her hospital room and in her mind. However, she begins to find awareness and direction during her stay at a mental institution, mainly because she allows herself to enter her past in a way she has never before. Claire examines her childhood--how she and her siblings unrelentingly adored their mother, whose death marked the end of their innocence. But it is not until she returns to her hometown of Clare, MI to see her ailing father that she truly discovers just how deep the secrets of her childhood are. Along the way, the dark corners of her mother's past reveal the healing truth of love. In her journey to battle the idealized notions of motherhood and artistry, Claire finds purpose and inspiration in simple treasures: her children.

For Gillian Marchenko, dealing with depression means learning to accept and treat it as a physical illness, while continuing as a wife and mother of four, two with special needs. How can she care for her family when she can't even get out of bed? Her story is real and raw, not one of quick fixes. But hope remains as she discovers that living with depression is still life.

A book of poetry that captures that special moment in time by richly depicting realistic perspectives. STILL LIFE includes expressions on beauty, love, life, our universe and nature. Somewhere along the way, readers will be able to identify with at least one poem to which they can relate quite personally. Irrespective of that personal experience, it is STILL LIFE.

The 13 stories in this collection by Japanese writer Junzo Shono are linked by the daily life of a husband and wife and their children. The stories are like the back of a tapestry where threads seem to cross randomly. Births, weddings, school activities, a suicide attempt - all occur out of view. Readers understand crucial events through ordinary days. But these quiet tales have a cumulative power. Toys, birds, and playing cards relate to human lives as portents, parallels, parodies. The mother, with her secret sorrows, and the puzzled, bemused father savor reveries and survive unexplained misfortunes. Shono's vivid snapshot technique, the layering of images, events, and conversations, creates an effect Western readers may find more akin to an Ozu film crossed with haiku than to traditional short stories.