Search results for ""Author Judith"

Undergraduates frequently find the fine Old English poem JUDITH the most stimulating of the surviving texts from the Anglo-Saxon period. In the past thirty years it has attracted a wide range of literary criticism both in the UK and the US. Feminist critics of English literature have been particularly interested by the ways in which the poet has adapted the traditional masculine heroic ethos of Old English poetry to a story figuring a violently active female protagonist.Yet there is no available edition of Judith which is either comprehensive or up to date, or which at all explains how and why the poem is worthy of our attention. This new edition aims to fill this gap. It includes a full Introduction and commentary by the editor, plus a comprehensive glossary, bibliography and appendices.

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The Judith Butler Reader is a collection of writings that span her impressive career and trace her intellectual history. Judith Butler, author of influential books such as Gender Trouble, has built her international reputation as a theorist of power, gender, sexuality and identity Organized in active collaboration between Judith Butler and Sara Salih Collects together writings that span Butler’s impressive career as a critical philosopher, including selections from both well-known and lesser-known works Includes an introduction and editorial material to assist students in their readings of theories that stand at the forefront of contemporary theoretical and political debates

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The Judith Butler Reader is a collection of writings that span her impressive career and trace her intellectual history. Judith Butler, author of influential books such as Gender Trouble, has built her international reputation as a theorist of power, gender, sexuality and identity Organized in active collaboration between Judith Butler and Sara Salih Collects together writings that span Butler’s impressive career as a critical philosopher, including selections from both well-known and lesser-known works Includes an introduction and editorial material to assist students in their readings of theories that stand at the forefront of contemporary theoretical and political debates

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An overview of the life and work of much-loved children’s illustrator and author Judith Kerr, creator of classics such as The Tiger Who Came to Tea, and Mog. A thoughtful and intimate portrait, this book is not only a celebration of Judith Kerr’s classic work, but a record of the hard work, development and serious intent behind it. Referencing Kerr’s biographical novels, Joanna Carey introduces us to the illustrator as she goes about her daily life, showing us into her studio, exploring her materials, her relationship with her publisher and editors, and her reflections over the years. Drawing on a great range of previously unpublished visual material, we see behind the scenes of Kerr’s unforgettable creations.

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Behind the fascinating public artist’s practice of collaboration Judith F. Baca is best known for the Great Wall of Los Angeles (1976–83), a vibrant 2,740-foot mural in Los Angeles that presents an alternative history of California—one that focuses on the contributions of marginalized and underrepresented communities. The mural is emblematic of Baca’s pioneering approach to creating public art, a process in which members of the community are essential contributors to the conception and realization of the work.Anna Indych-López explores Baca’s oeuvre, from early murals painted with local gang members in the Boyle Heights neighborhood of Los Angeles to more recently commissioned works. She looks in depth at the Great Wall and considers the artist’s ongoing work with the Social and Public Art Resource Center (SPARC) in Venice, California, a nonprofit group founded by Baca in 1976. Throughout, Indych-López assesses what she calls Baca’s “public art of contestation” and discusses how ideas of collaboration and authorship and issues of race, class, and gender have influenced and sustained Baca’s art practice.

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Share in the magic with five classic stories from Judith Kerr, the creator of the iconic The Tiger Who Came to Tea and Mog the Forgetful Cat. Judith Kerr OBE was one of the most beloved creators of children’s books in the world. This delightful treasury brings together five of her bestselling stories in one very special collection, including classics such as The Tiger Who Came to Tea and Mog the Forgetful Cat, both loved by children all over the world for more than fifty years. Featuring:The Tiger Who Came to TeaMog the Forgetful CatOne Night in the ZooThe Other GooseWhen Willy Went to the Wedding In a beautiful hardback gift book edition, this collection is the perfect gifts for boys, girls and families everywhere!

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Behind the fascinating public artist’s practice of collaboration Judith F. Baca is best known for the Great Wall of Los Angeles (1976–83), a vibrant 2,740-foot mural in Los Angeles that presents an alternative history of California—one that focuses on the contributions of marginalized and underrepresented communities. The mural is emblematic of Baca’s pioneering approach to creating public art, a process in which members of the community are essential contributors to the conception and realization of the work.Anna Indych-López explores Baca’s oeuvre, from early murals painted with local gang members in the Boyle Heights neighborhood of Los Angeles to more recently commissioned works. She looks in depth at the Great Wall and considers the artist’s ongoing work with the Social and Public Art Resource Center (SPARC) in Venice, California, a nonprofit group founded by Baca in 1976. Throughout, Indych-López assesses what she calls Baca’s “public art of contestation” and discusses how ideas of collaboration and authorship and issues of race, class, and gender have influenced and sustained Baca’s art practice.

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A long-overdue introduction to the Brazilian Concrete art protagonist and Grupo Ruptura member Brazilian painter and printmaker Judith Lauand (born 1922) is regarded as a key figure of Concrete art. Lauand is the only woman to have participated in Grupo Ruptura, a collective of artists that pioneered Concretism in Brazil, which counted such luminaries as Waldemar Cordeiro, Luiz Sacilotto, Geraldo de Barros, Lotar Charoux and Anatol Wladyslaw among its ranks. Lauand, initially self-taught, moved to São Paulo in the 1950s and encountered Concrete art while working at the 2nd Bienal Internacional. She then quickly delved into the movement, holding a solo show within the same year. This survey follows Lauand’s tremendous oeuvre across five decades, paying particular attention to her engagement with the Concrete movement. The catalog cover is rendered in striking Concrete style, lined with squares and enclosed within a black slipcase dotted with geometric cutouts.

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"The Judith Blacklock Encyclopedia of Flower Design" is the essential 'how to' manual for everyone interested in flowers and floral art. Whether flowers are a passion, a pleasure or a business, this book is essential reading. Covering classic, contemporary and cutting-edge design, the beginner will build knowledge and competence and quickly get started in the art. The experienced arranger will find the book a most valuable reference with inspiration from across the world. Richly illustrated with over 500 colour photographs and 200 line drawings, this book: will inspire you throughout the year with seasonal design ideas; shows you exciting ways to arrange flowers in a vase successfully; gives you advice and inspiration on wedding flowers; explains why some designs work and why others do not; and provides a useful reference of many of the flowers and foliage that are available. Packed with tips, information and step by step advice, this book is an indispensable guide whatever the season, occasion or budget. Judith Blacklock is a best selling author and an accomplished designer. She is the Principal of the Judith Blacklock Flower School in London.

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In the Summer of 1972, 14-year-old Judith Roberts took off for a bike ride within the vicinity of her Staffordshire home. Her body was discovered after a three-day manhunt, concealed from view in a thick privet having been brutally attacked. The community of Tamworth was rocked by the news of her death and an outcry for justice ensued. Within weeks of her murder, an impressionable and troubled soldier, based in the nearby barracks, 17-year-old Andrew Evans, walked into a police station and confessed to the killing. Relentlessly interviewed for hours on end without representation or an appropriate adult present, Andrew was swiftly charged with Judith's murder. Despite attempting to recount his statement and a legal defence at trial that defied the prosecution's arguments that Andrew Evans was guilty, a judge sentenced him to life behind bars. He was eventually acquitted in 1997 in what was, at the time, Britain's longest miscarriage of justice. While Andrew Evans fought for his free

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An homage to the life of poet, writer, and teaching artist Judith Tannenbaum and her impact on incarcerated and marginalized students. The Book of Judith honors Judith Tannenbaum but also reflects, through both form and content, on the complexities of seeing both the parts and the whole. The book presents different aspects of Judith—poet, teaching artist, friend, mentor, colleague—through a collection of original poetry, prose, essay, illustration, and fiction from 33 contributors. In so doing, it echoes her own determination to perceive contradiction without judgment. For the next generation of teaching artists in Corrections and elsewhere, the book serves as an inspiration on the qualities needed to survive and thrive in a multi-faceted, ever-changing environment. The book is divided into four sections, separated by riveting black and white pencil drawings inspired by the lives of those serving life in prison without possibility of parole. In Unfinished Conversations, contributors share their bond with Judith Tannenbaum through prose and excerpts from letters both real and imagined. In the second section, After December, poets reflect on the life, artistry, and legacy of Judith. The third section, Looking and Listening, focuses on the truth-seeking qualities that Judith brought to her work. The fourth section, Legacy, features work from winners of an award and a fellowship bestowed in her name.

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In such works as Gender Trouble and Bodies That Matter Judith Butler broke new ground in understanding the construction and performance of identities. While Butler's writings have been crucial and often controversial in the development of feminist and queer theory, Bodily Citations is the first anthology centered on applying her theories to religion. In this collection scholars in anthropology, biblical studies, theology, ethics, and ritual studies use Butler's work to investigate a variety of topics in biblical, Islamic, Buddhist, and Christian traditions. The authors shed new light on Butler's ideas and highlight their ethical and political import. They also broaden the scope of religious studies as they bring it into conversation with feminist and queer theory. Subjects discussed include the woman's mosque movement in Cairo, the ordination of women in the Catholic Church, the possibility of queer ethics, religious ritual, and biblical constructions of sexuality. Contributors include: Karen Trimble Alliaume, Lewis University; Teresa Hornsby, Drury University; Amy Hollywood, Harvard Divinity School; Christina Hutchins, Pacific School of Religion; Saba Mahmood, University of California, Berkeley; Susanne Mrozik, Mount Holyoke College; Claudia Schippert, University of Central Florida; Rebecca Schneider, Brown University; Ken Stone, Chicago Theological Seminary

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With the publication of her highly acclaimed and much-cited book Gender Trouble, Judith Butler became one of the most influential feminist theorists of her generation. Her theory of gender performativity and her writings on corporeality, on the injurious capacity of language, on the vulnerability of human life to violence and on the impact of mourning on politics have, taken together, comprised a substantial and highly original body of work that has a wide and truly cross-disciplinary appeal. In this lively book, Moya Lloyd provides both a clear exposition and an original critique of Butler's work. She examines Butlers core ideas, traces the development of her thought from her first book to her most recent work, and assesses Butlers engagements with the philosophies of Hegel, Foucault, Derrida, Irigaray and de Beauvoir, as well as addressing the nature and impact of Butler's writing on feminist theory. Throughout Lloyd is particularly concerned to examine Butler's political theory, including her critical interventions in such contemporary political controversies as those surrounding gay marriage, hate-speech, human rights, and September 11 and its aftermath. Judith Butler offers an accessible and original contribution to existing debates that will be an invaluable resource for students and scholars alike.

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A Feminist Companion to Tobit and Judith extends the work of the hugely influential and respected Feminist Companion series, which continues to set the standard for feminist approaches to the Hebrew Bible and related texts. In the present volume Athalya Brenner-Idan (with Helen Efthimiadis-Keith) draws together a range of scholarly commentators and addresses the core issues relating to feminist interpretations of the two texts at hand. The volume examines attitudes to gender, identities, exile, social mores, beliefs, clothing, food and drink, personal relationships, and biblical reception. The contributors are: Beverly Bow and George Nickelsburg, Athalya Brenner-Idan, Ora Brison, Helen Efthimiadis-Keith, Renate Egger-Wenzel, Beate Ego, Emma England, Jennifer Glancy, Jan Willem van Henten, Naomi Jacobs, Amy-Jill Levine, Pamela Milne, and Barbara Schmitz.

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The juxtapositions of Zaha Hadid's architectural models and drawings and Judith Turner's photographs of the architect's buildings in this volume reveal that Hadid and Turner are complicit. There is a clear agreement of sensibilities. Each understands the other. Hadid does not design with complete geometries in stable con-figurations, but designs instead with incomplete or distorted geometries that are dynamic and visually unstable. Turner does the same in her photographs, cropping before a form completes itself in a frame that leaves the rest of the form suggested outside the frame. Hadid's work is abstract a permutation of Modernism's trifecta of point, line and plane. Turner's photography, too, is abstract so that Turner's photographs of Hadid's buildings compound the abstraction, arguably intensifying the three-dimension-al abstraction by compressing it into two. Hadid's neutral palette of materials, especially concrete, takes on value in Turner's graphic compositions of black, white and gray, counterintuitively giving neutrality subtle intensity. Hadid structures her designs dynamically with diagonal lines and oblique planes playing with and against each other in three-dimensional fields. Likewise Turner works on the diagonal, always positioning herself obliquely to buildings, shooting glancingly rather than frontally: her diagonal position further dynamizes Hadid's already energized diagonals. Often Turner doubles down on the diagonality by cranking the camera's lens off its up-down axis to heighten the architectural dynamism. Turning her photographic angle lofts Hadid's already anti-gravitational architectural system off the ground. Judith Turner resides in New York where she began taking photographs in 1972. She has had solo exhibitions in various cities in the United States, Europe, South America, Israel, and Japan. Turner has been awarded several grants and fellowships. She received an Honor Award from The American Institute of Architects in 1994 and a Stars of Design Award in Photography from The Design Center of New York in 2007.

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With the publication of her highly acclaimed and much-cited book Gender Trouble, Judith Butler became one of the most influential feminist theorists of her generation. Her theory of gender performativity and her writings on corporeality, on the injurious capacity of language, on the vulnerability of human life to violence and on the impact of mourning on politics have, taken together, comprised a substantial and highly original body of work that has a wide and truly cross-disciplinary appeal. In this lively book, Moya Lloyd provides both a clear exposition and an original critique of Butler's work. She examines Butlers core ideas, traces the development of her thought from her first book to her most recent work, and assesses Butlers engagements with the philosophies of Hegel, Foucault, Derrida, Irigaray and de Beauvoir, as well as addressing the nature and impact of Butler's writing on feminist theory. Throughout Lloyd is particularly concerned to examine Butler's political theory, including her critical interventions in such contemporary political controversies as those surrounding gay marriage, hate-speech, human rights, and September 11 and its aftermath. Judith Butler offers an accessible and original contribution to existing debates that will be an invaluable resource for students and scholars alike.

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Formed by Harvey S. Shipley Miller, trustee of the Judith Rothschild Foundation, and given to MoMA in 2005, The Judith Rothschild Foundation Contemporary Drawings Collection was conceived to be a broad survey of contemporary drawing practice, and it more than fulfils that goal, mixing drawings of the 1960s and 1970s with major works of the past twenty years by such artists as Kai Althoff, Robert Crumb, Peter Doig, Marcel Dzama, Mark Grotjahn, Charline von Heyl, Martin Kippenberger, Sherrie Levine, Agnes Martin, Fred Sandback, Paul Thel and Andrea Zittel, among many others. This definitive catalogue raisonné presents the collection as a whole, with an introduction by Christian Rattemeyer; five essays each focusing on a different geographic area of artistic production; images throughout; and a text on paper conservation.

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An homage to the life of poet, writer, and teaching artist Judith Tannenbaum and her impact on incarcerated and marginalized students. The Book of Judith honors Judith Tannenbaum but also reflects, through both form and content, on the complexities of seeing both the parts and the whole. The book presents different aspects of Judith—poet, teaching artist, friend, mentor, colleague—through a collection of original poetry, prose, essay, illustration, and fiction from 33 contributors. In so doing, it echoes her own determination to perceive contradiction without judgment. For the next generation of teaching artists in Corrections and elsewhere, the book serves as an inspiration on the qualities needed to survive and thrive in a multi-faceted, ever-changing environment. The book is divided into four sections, separated by riveting black and white pencil drawings inspired by the lives of those serving life in prison without possibility of parole. In Unfinished Conversations, contributors share their bond with Judith Tannenbaum through prose and excerpts from letters both real and imagined. In the second section, After December, poets reflect on the life, artistry, and legacy of Judith. The third section, Looking and Listening, focuses on the truth-seeking qualities that Judith brought to her work. The fourth section, Legacy, features work from winners of an award and a fellowship bestowed in her name.

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A lavishly illustrated retrospective in celebration of 100 years since Judith Kerr’s birth, author of The Tiger Who Came to Tea and many other iconic books. Judith Kerr was one of the best-loved authors and illustrators to ever put pencil to paper. The books she created, including The Tiger Who Came to Tea, Mog the Forgetful Cat, When Hitler Stole Pink Rabbit and many many more, have become classics of children’s literature, loved by generations of readers. But what of the life behind the iconic characters? Judith’s own story is riveting, from her early childhood in Berlin, dramatically cut short by the family having to flee the rising Nazi Party, to her time at the BBC in the 1950s and her long and happy marriage to the celebrated screenwriter Nigel Kneale, creator of British television’s first major hit, The Quatermass Experiment. The joy of this very special book is in hearing this story from Judith herself, accompanied by a treasure trove of illustrations and memorabilia. All combine to give an unforgettable insight into the creative process behind these beloved stories. This book was published in 2013, but Judith continued to work up until her death in 2019. While she may have gone, her creatures live on. They are much-loved characters who spring to life from the pages of her books, but they are also those who have played a part in her inspirational life. They are to be found here, in a book to cherish and return to again and again. In 2023 we celebrate 100 years since Judith’s birth and in this updated edition, her final working years have been wonderfully evoked in a new chapter written by Judith’s son, the author, Matthew Kneale.

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Moral philosophy and poststructuralism have long been considered two antithetical enterprises. Moral philosophy is invested in securing norms, whereas poststructuralism attempts to unclench the grip of norms on our lives. Moreover, poststructuralism is often suspected of undoing the possibility of ethical knowledge by emphasizing the unstable, socially constructed nature of our practices and knowledge. In Unbecoming Subjects, Annika Thiem argues that Judith Butler's work makes possible a productive encounter between moral philosophy and poststructuralism, rethinking responsibility and critique as key concepts at the juncture of ethics and politics. Putting into conversation Butler's earlier and most recent work, Unbecoming Subjects begins by examining how Butler's critique of the subject as nontransparent to itself, formed thoroughly through relations of power and in subjection to norms and social practices, poses a challenge to ethics and ethical agency. The book argues, in conversation with Butler, Levinas, and Laplanche, that responsibility becomes possible only when we do not know what to do or how to respond, yet find ourselves under a demand to respond, and even more, to respond well to others. Drawing on the work of Butler, Adorno, and Foucault, Unbecoming Subjects examines critique as a central practice for moral philosophy. It interrogates the limits of moral and political knowledge and probes methods of social criticism to uncover and oppose injustices.

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"Judith Blacklock's Flower Recipes For Spring" contains over 40 ideas to create simple, yet sophisticated, floral displays throughout the home. This book is the second in a series of four seasonal books, and is devoted to Spring arrangements, using flowers and foliage readily available during the Spring months. The 'How to' section teaches the necessary techniques to achieve these impressive flower recipes.

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A picture book biography celebrating the life and work of disability rights activist and icon Judith Heumann, highlighting one of her landmark achievements—leading the historic 504 Sit-in in 1977From a very young age, Judy Heumann heard the word NO. When she wanted to attend public school, the principal said, "NO." When she wanted her teaching license, the New York Board of Education said, "NO." Judy and people with disabilities everywhere were tired of hearing “NO.”In the 1970s an important disability rights law, Section 504 of The Rehabilitation Act of 1973, was waiting to be signed. Judy and other disability rights activists fought for “YES!” They held a sit-in until Section 504 was signed into law. Section 504 laid the foundation for the Americans with Disabilities Act, which was established thanks in large part to the ongoing work of Judy and her community. Along with a personal reflection from Judy herself, this picture book biography captures the impact and influence of one of America’s greatest living activists.

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The first monograph on the work of a groundbreaking artist in stained glass. From her start in the 1980s, Judith Schaechter (b. 1961) has stretched the medium of stained glass into an incisive art form for the twenty-first century, boldly paving her path in the diverse arena of contemporary art. With deep respect for history, a provocative rebelliousness, and a feminist sensibility, Schaechter has aptly been called a "post-punk stained-glass sorceress." This catalog accompanies "The Path to Paradise: Judith Schaechter's Stained-Glass Art", the first survey and major scholarly assessment of this groundbreaking artist's 37-year career. This catalog explores the range of critical registers Schaechter's work spans, illuminating and contextualizing the artist's unique contributions to the contemporary canon. Published in association with the Memorial Art Gallery, Rochester NY

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From her position at Harvard University's Department of Government for over thirty-five years, Judith Shklar (1928-92) taught a long list of prominent political theorists and published prolifically in the domains of modern and American political thought. She was a highly original theorist of liberalism, possessing a broad and deep knowledge of intellectual history, which informed her writing in interesting and unusual ways. Her work emerged between the "end of ideology" discussions of the 1950s and the "end of history" debate of the early 1990s. Shklar contributed significantly to social and political thought by arguing for a new, more skeptical version of liberalism that brought political theory into close contact with real-life experience. The essays collected in Between Utopia and Realism reflect on and refract Shklar's major preoccupations throughout a lifetime of thinking and demonstrate the ways in which her work illuminates contemporary debates across political theory, international relations, and law. Contributors address Shklar's critique of Cold War liberalism, interpretation of Montaigne and its connection to her genealogy of liberal morals, lectures on political obligation, focus on cruelty, and her late reflections on exile. Others consider her role as a legal theorist, her interest in literary tropes and psychological experience, and her famed skepticism. Between Utopia and Realism showcases Shklar's approach to addressing the intractable problems of social life. Her finely honed political skepticism emphasized the importance of diagnosing problems over proffering excessively optimistic solutions. As this collection makes clear, her thought continues to be useful in addressing cruelty, limiting injustice, and combating the cynicism of the present moment. Contributors: Samantha Ashenden, Hannes Bajohr, James Brown, Katrina Forrester, Volker M. Heins, Andreas Hess, Samuel Moyn, Thomas Osborne, William E. Scheuerman, Quentin Skinner, Philip Spencer, Tracy B. Strong, Kamila Stullerova, Bernard Yack.

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Compass in Hand brings together approximately 250 works from the Judith Rothschild Foundation’s extraordinary gift of drawings to The Museum of Modern Art, in 2005. Formed by Harvey S. Shipley Miller, the Foundation’s trustee, the collection comprises over 2,500 works on paper by more than 650 artists and was conceived to be the widest possible cross-section of contemporary drawing made primarily within the past twenty years. An extended essay by Christian Rattemeyer highlights the primary curatorial concepts and categories of the collection and a conversation between Harvey S. Shipley Miller and Gary Garrels, former Chief Curator of the Department of Drawings at MoMA, recounts the objectives and processes through which the collection was originally formed, providing a unique panorama on the state of drawing today.

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An old man learns how to die from a poet facing death For the entire six months that Mark Dowie became friends with Judith Tannenbaum, they both knew she was going to die. In fact, for most of that time they knew the exact hour she would go: sometime between 11:00 AM and noon, December 5, 2019, which she did. Judith was a poet, writer, activist, and artist who worked for decades teaching and collaborating with imprisoned lifers. Beloved by her community, Judith told almost no one when she was diagnosed with an incurable disease that would cause her immeasurable pain. Instead she chose to end life on her own terms. When they met, Mark Dowie had already been working for years to advocate for physician assistance in dying for terminally ill people in his home state of California. He helped many friends along this path, but it wasn't until he was introduced to Judith through a mutual friend that he came to a profound new understanding of death. Mark and Judith created a two-person "death café," a group devoted to discussions of death. They talked about many things during Judith's final months, but the rapidly approaching moment of her death came to inform and shape their entire conversation. Death was, as she said, “the undercurrent and the overstory of our relationship.” Judith Letting Go supports the right to plan one’s death, but it is ultimately about the lost human art of releasing everything that matters to the living in preparation for the inevitable.

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An old man learns how to die from a poet facing death For the entire six months that Mark Dowie became friends with Judith Tannenbaum, they both knew she was going to die. In fact, for most of that time they knew the exact hour she would go: sometime between 11:00 AM and noon, December 5, 2019, which she did. Judith was a poet, writer, activist, and artist who worked for decades teaching and collaborating with imprisoned lifers. Beloved by her community, Judith told almost no one when she was diagnosed with an incurable disease that would cause her immeasurable pain. Instead she chose to end life on her own terms. When they met, Mark Dowie had already been working for years to advocate for physician assistance in dying for terminally ill people in his home state of California. He helped many friends along this path, but it wasn't until he was introduced to Judith through a mutual friend that he came to a profound new understanding of death. Mark and Judith created a two-person "death café," a group devoted to discussions of death. They talked about many things during Judith's final months, but the rapidly approaching moment of her death came to inform and shape their entire conversation. Death was, as she said, “the undercurrent and the overstory of our relationship.” Judith Letting Go supports the right to plan one’s death, but it is ultimately about the lost human art of releasing everything that matters to the living in preparation for the inevitable.

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Judith Sargent Murray (1751-1820), poet, essayist, playwright, and one of the most thoroughgoing advocates of women's rights in early America, was as well known in her own day as Abigail Adams or Martha Washington. Her name, though, has virtually disappeared from the public consciousness. Thanks to the recent discovery of Murray's papers—including some 2,500 personal letters—historian Sheila L. Skemp has documented the compelling story of this talented and most unusual eighteenth-century woman. Born in Gloucester, Massachussetts, Murray moved to Boston in 1793 with her second husband, Universalist minister John Murray. There she became part of the city's literary scene. Two of her plays were performed at Federal Street Theater, making her the first American woman to have a play produced in Boston. There as well she wrote and published her magnum opus, The Gleaner, a three-volume "miscellany" that included poems, essays, and the novel-like story "Margaretta." After 1800, Murray's output diminished and her hopes for literary renown faded. Suffering from the backlash against women's rights that had begun to permeate American society, struggling with economic difficulties, and concerned about providing the best possible education for her daughter, she devoted little time to writing. But while her efforts diminished, they never ceased. Murray was determined to transcend the boundaries that limited women of her era and worked tirelessly to have women granted the same right to the "pursuit of happiness" immortalized in the Declaration of Independence. She questioned the meaning of gender itself, emphasizing the human qualities men and women shared, arguing that the apparent distinctions were the consequence of nurture, not nature. Although she was disappointed in the results of her efforts, Murray nevertheless left a rich intellectual and literary legacy, in which she challenged the new nation to fulfill its promise of equality to all citizens.

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