The third book of 'The Kin' Quartet of prehistoric adventures, first published in a single hardback volume.
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1000 tulosta hakusanalla Kin Hubbard
A magnificent new novel from the bestselling, award-winning author of An American Marriage--Tayari Jones has written an unforgettable novel that sparkles with wit and intelligence and deep feeling about two lifelong friends whose worlds converge after many years apart in the face of a devastating tragedy. "Kin is the kind of all-encompassing reading experience I'm always hoping to find: smart and funny and deftly profound. This is Tayari Jones's very best work." --Ann Patchett, author of Tom Lake Vernice and Annie, two motherless daughters raised in Honeysuckle, Louisiana, have been best friends and neighbors since earliest childhood but are fated to live starkly different lives. Raised by a fierce aunt determined to give her a stable home in the wake of her mother's death, Vernice leaves Honeysuckle at eighteen for Spelman College, where she joins a sisterhood of powerfully connected Black women and discovers a world of affluence, manners, aspiration, and inequality. Annie, abandoned by her mother as a child and fixated on the idea of finding her and filling the bottomless hole left by her absence, sets off on a journey that will take her into a world of peril and adversity, as well as love and adventure, culminating in a battle for her life. A novel about mothers and daughters, friendship and sisterhood, and the complexities of being a woman in the American South, Kin is an exuberant, emotionally rich, unforgettable work from one of the brightest and most irresistible voices in contemporary fiction.
'I'm so sick of hearing about family. Of feeling guilty for not enjoying family. Or being pressured into joining a standing ovation for a show I didn't particularly care for in the first place.' Two estranged sisters meet after twenty years. In a remote cottage over a single night they bury the hatchet. As their dying father lies in the room next door they're forced to confront who they were and who they've become. When the only person they have left in common disappears, is their relationship worth saving? Written by Max Dickins (The Man on the Moor and The Trunk), this darkly comic tale examines how a sibling can be both your best friend and your worst enemy. And asks the question: how can you forgive the past when you can't even agree what it looks like?
Since Darwin, people have speculated about the evolutionary relationships among dissimilar species, including our connections to the diverse life forms known as microbes. In the 1970s biologists discovered a way to establish these kinships. This new era of exploration began with Linus Pauling’s finding that every protein in every cell contains a huge reservoir of evolutionary history. His discovery opened a research path that has changed the way biologists and others think about the living world. In Kin John L. Ingraham tells the story of these remarkable breakthroughs. His original, accessible history explains how we came to understand our microbe inheritance and the relatedness of all organisms on Earth.Among the most revolutionary scientific achievements was Carl Woese’s discovery that a large group of organisms previously lumped together with bacteria were in fact a totally distinct form of life, now called the archaea. But the crowning accomplishment has been to construct the Tree of Life—an evolutionary project Darwin dreamed about over a century ago. Today, we know that the Tree’s three main stems are dominated by microbes. The nonmicrobes—plants and animals, including humans—constitute only a small upper branch in one stem.Knowing the Tree’s structure has given biologists the ability to characterize the complex array of microbial populations that live in us and on us, and investigate how they contribute to health and disease. This knowledge also moves us closer to answering the tantalizing question of how the Tree of Life began, over 3.5 billion years ago.
A dynamic kaleidoscope of story that honors the work of women.Kin is a story and a celebration of Black womanhood, of resistance, and of perseverance—while simultaneously an indictment of American history. Kin is a tree—alive in places, broken in others—that offers shelter for women seeking respite in the midst of family-making. This tree depicts family grafted together by blood, law, or choice; its stories are voiced through blues-infused poetry, one-act plays, oral history, and reportage that are combined to form an orchestra of Black history and re-memory. Centered on the labor of women, the movement of women through lives and time, and the work of building associations that make up the home, this book takes up the rhythms and multifarious forms of its inspiration, Cane, the 1923 novel by Jean Toomer. The roots from which it all grows are the ancestors who ensure from the spirit realm that the family remains grounded and verdant, despite the manifold threats to its health and well-being. Kin is a tribute to forebearers, a beacon to those calling homes into being, and a strata of stories for children not yet born.
'Smart and funny and deftly profound. This is Tayari Jones's very best work.' Ann Patchett, author of Tom Lake Vernice and Annie are ‘cradle friends’, both born in Honeysuckle, Louisiana, both destined never to know their mothers. The girls are inseparable, bound by a friendship far deeper than sisterhood, but as they grow up, their lives start to look very different in the segregated America of the 1950s and 60s. Both girls leave Honeysuckle in search of something that might fill the hole left by their absent mothers: a university education, the promise of a first love affair, the hope offered by the simmering civil rights movement. But it is Annie whose bad decisions pull her into a world of danger, leaving her oldest friend to battle to save her. Tayari Jones returns with an exuberant, richly told novel about mothers and daughters, about a lifelong friendship, and the complexities of being a woman in the American South.
In her first book-length collection of poetry, Crystal Williams utilizes memory and music as she lyrically weaves her way through American culture, pointing to the ways in which alienation, loss, and sensed "otherness" are corollaries of recent phenomena. Williams writes about being adopted by an interracial couple, a jazz pianist/Ford Foundry worker and a school psychologist, and how that has affected her development as an African American woman. She tries to work out the answers to many difficult questions: in what way do African American artists define themselves? What do they owe the culture and what does it owe them? To what extent does our combined national memory inform our individual selves?These poems are steeped in the black literary tradition. They are brimming over with the oral tradition that Williams perfected while spending years on the poetry "slam" circuit. This, combined with her musical upbringing, give the collection not only a sense of urgency, but also a rhythm, a breath all its own. Kin tackles not only racial issues, but also the troubling realities of violent acts that can occur, especially in our inner cities. But more importantly, the landscape that Williams creates offers readers an alternative to the racial/political dichotomy in which we all live. Overall, the book resonates with a message of reconciliation that will leave the reader uplifted.
Kin
DUKE UNIVERSITY PRESS
2022
sidottu
The contributors to Kin draw on the work of anthropologist Deborah Bird Rose (1946–2018), a foundational voice in environmental humanities, to examine the relationships of interdependence and obligation between human and nonhuman lives. Through a close engagement over many decades with the Aboriginal communities of Yarralin and Lingara in northern Australia, Rose’s work explored possibilities for entangled forms of social and environmental justice. She sought to bring the insights of her Indigenous teachers into dialogue with the humanities and the natural sciences to describe and passionately advocate for a world of kin grounded in a profound sense of the connectivities and relationships that hold us together. Kin’s contributors take up Rose’s conceptual frameworks, often pushing academic fields beyond their traditional objects and methods of study. Together, the essays do more than pay tribute to Rose’s scholarship; they extend her ideas and underscore her ongoing critical and ethical relevance for a world still enduring and resisting ecocide and genocide. Contributors. The Bawaka Collective, Matthew Chrulew, Colin Dayan, Linda Payi Ford, Donna Haraway, James Hatley, Owain Jones, Stephen Muecke, Kate Rigby, Catriona (Cate) Sandilands, Isabelle Stengers, Anna Tsing, Thom van Dooren, Kate Wright
Kin
DUKE UNIVERSITY PRESS
2022
pokkari
The contributors to Kin draw on the work of anthropologist Deborah Bird Rose (1946–2018), a foundational voice in environmental humanities, to examine the relationships of interdependence and obligation between human and nonhuman lives. Through a close engagement over many decades with the Aboriginal communities of Yarralin and Lingara in northern Australia, Rose’s work explored possibilities for entangled forms of social and environmental justice. She sought to bring the insights of her Indigenous teachers into dialogue with the humanities and the natural sciences to describe and passionately advocate for a world of kin grounded in a profound sense of the connectivities and relationships that hold us together. Kin’s contributors take up Rose’s conceptual frameworks, often pushing academic fields beyond their traditional objects and methods of study. Together, the essays do more than pay tribute to Rose’s scholarship; they extend her ideas and underscore her ongoing critical and ethical relevance for a world still enduring and resisting ecocide and genocide. Contributors. The Bawaka Collective, Matthew Chrulew, Colin Dayan, Linda Payi Ford, Donna Haraway, James Hatley, Owain Jones, Stephen Muecke, Kate Rigby, Catriona (Cate) Sandilands, Isabelle Stengers, Anna Tsing, Thom van Dooren, Kate Wright
A new novel by the Bram Stoker Award-winning author of THE TURTLE BOY. On a scorching hot summer day in Elkwood, Alabama, Claire Lambert staggers naked, wounded, and half-blind away from the scene of an atrocity. She is the sole survivor of a nightmare that claimed her friends, and even as she prays for rescue, the killers -- a family of cannibalistic lunatics -- are closing in. A soldier suffering from post-traumatic stress disorder returns from Iraq to the news that his brother is among the murdered in Elkwood. In snowbound Detroit, a waitress trapped in an abusive relationship gets an unexpected visit that will lead to bloodshed and send her back on the road to a past she has spent years trying to outrun. And Claire, the only survivor of the Elkwood Massacre, haunted by her dead friends, dreams of vengeance... a dream which will be realized as grief and rage turn good people into cold-blooded murderers and force alliances among strangers. It's time to return to Elkwood. In the spirit of such iconic horror classics as The Texas Chainsaw Massacre and Deliverance, Kin begins at the end and studies the possible aftermath for the survivors of such traumas upon their return to the real world -- the guilt, the grief, the thirst for revenge -- and sets them on an unthinkable journey... back into the heart of darkness.
Traditions, created, and subverted. Love, nurtured and destroyed. Friendships, marriages, and the wild beauty of Cape Breton Island. And above all, kin, in all its convoluted forms.In Kin, bestselling author Lesley Crewe traces the tangled lines of loyalty, tragedy, joy, and love through three generations of families. Beginning with Annie Macdonald, an effervescent seven-year-old living in Glace Bay in the 1930s, and ending with Annie's great-niece Hilary, an idealistic twenty-year-old in Round Island in 2000, the story is complex and riveting. The cast of characters is vast and varied-some with the island's deliciously cutting wit, some dour and uptight, some frail, some resilient, and all inextricably bound by their shared histories.Brimming with humour and poignancy, Kin is a celebration of the heartbreaking, maddening joy that is family.
Emil, the unwanted child of two young parents, is adopted by Yoel and Leah, a childless couple. Yet, as the years pass, it becomes clear that Emil doesn't bear much resemblance to the parents who've loved and raised him. Is his name the only thing his real parents have left him? Kin traces the movements of Emil and his four parents as they walk through the same city, nearby but apart, searching for each other in the faces of passersby; until Yoel, now old, becomes determined to do the impossible: return his grown son--a lonely man approaching middle age--to his birth parents. In prose that is both minimal and subtly off kilter, acclaimed Israeli novelist Dror Burstein introduces us to an Israel that is as peculiar, and poignant, as Donald Barthelme's America: ranging from an apocalyptic future to the petty annoyances of daily life, from shifting continents to tiny heartbreaks.
Kin
Aperture
2015
sidottu
Pieter Hugo has garnered critical acclaim for his series of portraits and landscapes, each of which explore a facet of his native South Africa and neighboring African countries, including the film sets of Nigeria’s Nollywood; and toxic garbage dumps in Ghana; and sites of mass executions in Rwanda, as well as albinos, the Hyena Men of Nigeria, honey collectors, and garbage scavengers. Kin , a collection of images shot throughout South Africa over the past decade, focuses instead on the photgrapher’s family, his community, and himself. Writer John Mahoney characterizes it as the artist’s first major work to focus exclusively on his personal experience in his native South Africa, a place defined by centuries of political, cultural, and racial tensions and contradictions. Hugo describes his series as “an engagement with the failure of the South African colonial experiment and my sense of being ‘colonial driftwood.’ South Africa is such a fractured, schizophrenic, wounded, and problematic place . . . How does one take responsibility for history, and to what extent should one try? How do you raise a family in such a conflicted society?” This work attempts to address these questions and reflect on the nature of conflicting personal and collective narratives.
A powerful portrait of a Black family tree shaped by enslavement and freedom, rendered in searing poems by acclaimed author Carole Boston Weatherford and stunning art by her son Jeffery Boston Weatherford.I call their names: Abram Alice Amey Arianna AntiquaI call their names: Isaac Jake James Jenny JimEvery last one, property of the Lloyds, the state’s preeminent enslavers. Every last one, with a mind of their own and a story that ain’t yet been told. Till now. Carole and Jeffery Boston Weatherford’s ancestors are among the founders of Maryland. Their family history there extends more than three hundred years, but as with the genealogical searches of many African Americans with roots in slavery, their family tree can only be traced back five generations before going dark. And so from scraps of history, Carole and Jeffery have conjured the voices of their kin, creating an often painful but ultimately empowering story of who their people were in a breathtaking book that is at once deeply personal yet all too universal. Carole’s poems capture voices ranging from her ancestors to Frederick Douglass to Harriet Tubman to the plantation house and land itself that connects them all, and Jeffery’s evocative illustrations help carry the story from the first mention of a forebear listed as property in a 1781 ledger to he and his mother’s homegoing trip to Africa in 2016. Shaped by loss, erasure, and ultimate reclamation, this is the story of not only Carole and Jeffery’s family, but of countless other Black families in America.
A Coretta Scott King Honor Book A Boston Globe–Horn Book Poetry Award Winner An “imaginative and moving” (The Horn Book, starred review) portrait of a Black family tree shaped by enslavement and freedom, rendered in searing poems by ALSC Children’s Literature Legacy Award winner Carole Boston Weatherford and stunning art by her son Jeffery Boston Weatherford.I call their names: Abram Alice Amey Arianna Antiqua I call their names: Isaac Jake James Jenny Jim Every last one, property of the Lloyds, the state’s preeminent enslavers. Every last one, with a mind of their own and a story that ain’t yet been told. Till now. Carole and Jeffery Boston Weatherford’s ancestors are among the founders of Maryland. Their family history there extends more than three hundred years, but as with the genealogical searches of many African Americans with roots in slavery, their family tree can only be traced back five generations before going dark. And so from scraps of history, Carole and Jeffery have conjured the voices of their kin, creating an often painful but ultimately empowering story of who their people were in a breathtaking book that is at once deeply personal yet all too universal. Carole’s poems capture voices ranging from her ancestors to Frederick Douglass to Harriet Tubman to the plantation house and land itself that connects them all, and Jeffery’s evocative illustrations help carry the story from the first mention of a forebear listed as property in a 1781 ledger to he and his mother’s homegoing trip to Africa in 2016. Shaped by loss, erasure, and ultimate reclamation, this is the story of not only Carole and Jeffery’s family, but of countless other Black families in America.
First came Scandi-crime and Nordic Noir - now it's time for Viking Crime! Make way, Lisbeth Salander and Sarah Lund, for Helga Finnsdottir. Lies. Manipulation. Murder. There's nothing quite like family . . .
'For Vikings done right, come to Snorri Kristjansson' - Mark Lawrence'Truly entertaining' - Yrsa Sigurðardóttir'A dark mystery in a dark age brought vividly to life' - Robert FabbriEveryone loves a family reunion. 970: For the first time since Helga was adopted, her family will be gathered in one place. But her siblings are coming with darkness in their hearts. Everyone knows their father, the Viking warlord Unnthor Reginsson, has a great chest of gold hidden somewhere on his land - and each of his heirs is determined to find it. Then one morning Helga is awakened by screams. Blood has been shed. Kin has been slain. All the clues point to one person - who cannot possibly be the murderer, at least in Helga's eyes. But if she's going to save an innocent from the axe, she's got to solve the mystery - fast . . . Lies. Manipulation. Murder. There's nothing quite like family . . .