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Meditative and unique, a lovely read for any spiritual person, Muslim or not.” Publisher's Weekly Few books in history have been as poorly understood as the Qur’an. Sent down in a series of revelations to the Prophet Muhammad, the Qur’an is the unmediated word of Allah, a ritual, political, and legal authority, an ethical and spiritual guide, and a literary masterpiece. In this book, one of the launch titles in Atlantic Monthly Press’ Books That Changed the World” series, the distinguished historian of religion Bruce Lawrence shows precisely how the Qur’an is Islam. He describes the origins of the faith and assesses its tremendous influence on today’s societies and politics. Above all, Lawrence emphasizes that the Qur’an is a sacred book of signs that has no single message. It is a book that demands interpretation and one that can be properly understood only through its history. Bruce Lawrence’s work is a beautifully written and, in these increasingly troubled times, invaluable introduction to and exploration of the core sacred text of Islam.

Esopus is a twice-yearly arts magazine that provides fresh and unmediated perspectives on contemporary culture from a wide range of arts professionals. The 14th issue of this award-winning publication is composed entirely of 12 artists' projects from both established figures such as John Baldessari, Judy Pfaff and Kerry James Marshall and emerging talents such as Roxy Paine, Barbara Probst and Marcia Kure. The publication's largest issue to date, Esopus 14 features 11 different paper stocks, six foldouts, a 25 x 37 poster and more than 30 removable inserts. And as always, the magazine closes with a themed audio CD--this time featuring songs by Doveman, Sharon Van Etten, PS I Love You and nine other musicians inspired by visual artists ranging from Gian Lorenzo Bernini to Chuck Close.

This unique book recounts the experience of facing one's death solely from the dying person's point of view rather than from the perspective of caregivers, survivors, or rescuers. Such unmediated access challenges assumptions about the emotional and spiritual dimensions of dying, showing readers that―along with suffering, loss, anger, sadness, and fear―we can also feel courage, love, hope, reminiscence, transcendence, transformation, and even happiness as we die. A work that is at once psychological, sociological, and philosophical, this book brings together testimonies of those dying from terminal illness, old age, sudden injury or trauma, acts of war, and the consequences of natural disasters and terrorism. It also includes statements from individuals who are on death row, in death camps, or planning suicide. Each form of dying addressed highlights an important set of emotions and narratives that often eclipses stereotypical renderings of dying and reflects the numerous contexts in which this journey can occur outside of hospitals, nursing homes, and hospices. Chapters focus on common emotional themes linked to dying, expanding and challenging them through first-person accounts and analyses of relevant academic and clinical literature in psycho-oncology, palliative care, gerontology, military history, anthropology, sociology, cultural and religious studies, poetry, and fiction. The result is an all-encompassing investigation into an experience that will eventually include us all and is more surprising and profound than anyone can imagine.

Creative expression inspired by disease has been criticized as a celebration of victimhood, unmediated personal experience, or just simply bad art. Despite debate, however, memoirs written about illness—particularly AIDS or cancer—have proliferated since the late twentieth century and occupy a highly influential place on the cultural landscape today. In Treatments, Lisa Diedrich considers illness narratives, demonstrating that these texts not only recount and interpret symptoms but also describe illness as an event that reflects wider cultural contexts, including race, gender, class, and sexuality. Diedrich begins this theoretically rigorous analysis by offering examples of midcentury memoirs of tuberculosis. She then looks at Susan Sontag’s Illness As Metaphor, Audre Lorde’s The Cancer Journals, and Eve Kosofsky Sedgwick’s “White Glasses,” showing how these breast cancer survivors draw on feminist health practices of the 1970s and also anticipate the figure that would appear in the wake of the AIDS crisis in the 1980s—the “politicized patient.” She further reveals how narratives written by doctors Abraham Verghese and Rafael Campo about treating people with AIDS can disrupt the doctor–patient hierarchy, and she explores practices of witnessing that emerge in writing by Paul Monette and John Bayley. Through these records of intensely personal yet universal experience, Diedrich demonstrates how language both captures and fails to capture these “scenes of loss” and how illness narratives affect the literary, medical, and cultural contexts from which they arise. Finally, by examining the ways in which the sick speak and are spoken for, she argues for an ethics of failure—the revaluation of loss as creating new possibilities for how we live and die.Lisa Diedrich is assistant professor of women’s studies at Stony Brook University.

This unique book recounts the experience of facing one's death solely from the dying person's point of view rather than from the perspective of caregivers, survivors, or rescuers. Such unmediated access challenges assumptions about the emotional and spiritual dimensions of dying, showing readers that―along with suffering, loss, anger, sadness, and fear―we can also feel courage, love, hope, reminiscence, transcendence, transformation, and even happiness as we die. A work that is at once psychological, sociological, and philosophical, this book brings together testimonies of those dying from terminal illness, old age, sudden injury or trauma, acts of war, and the consequences of natural disasters and terrorism. It also includes statements from individuals who are on death row, in death camps, or planning suicide. Each form of dying addressed highlights an important set of emotions and narratives that often eclipses stereotypical renderings of dying and reflects the numerous contexts in which this journey can occur outside of hospitals, nursing homes, and hospices. Chapters focus on common emotional themes linked to dying, expanding and challenging them through first-person accounts and analyses of relevant academic and clinical literature in psycho-oncology, palliative care, gerontology, military history, anthropology, sociology, cultural and religious studies, poetry, and fiction. The result is an all-encompassing investigation into an experience that will eventually include us all and is more surprising and profound than anyone can imagine.

LP version. The first volume in Glitterbeat's Hidden Music, a series of unmediated field recordings of lesser-known global music traditions. War Is a Wound, Peace Is a Scar is a haunting audio document recorded in the summer of 2014 by Grammy-award winning producer Ian Brennan (Tinariwen, Malawi Mouse Boys, the Good Ones). The sepia-tinged songs are sung and played live and direct by elderly Vietnamese musicians using half-forgotten traditional instruments. These musicians all have deep, persona

Sometimes controversial, invariably fascinating, Lacan's psycholinguistic approach to analysis of the psychoses is seen here in virtually unmediated form. Taking us into and beyond the realm of Freudian psychoanalysis, Lacan examines the psychoses' inescapable connection to the symbolic process through which signifier is joined with signified. Lacan deftly navigates the ontological levels of the symbolic, the imaginary, and the real to explain psychosis as "foreclosure," or rejection of the primordial signifier. Then, bridging the gap between the theoretical and the practical, Lacan discusses the implications for treatment. In these lectures on the psychoses, Lacan's renowned theory of metaphor and metonymy, along with the concept of the "quilting point," appears for the first time.

In this controversial book, Edward S. Reed warns that first-hand experience as a way of understanding the world and ourselves is endangered, because our culture favors indirect, second-hand knowledge that is selected, modified, packaged, and presented to us by others. Reed offers a spirited defense of unmediated experience against both modernist and postmodernist critics and outlines how to foster this vision of meaningful learning.

Barely two hundred and fifty years ago man condemned of attempting to assassinate the King of France was drawn and quartered in a grisly spectacle that suggested an unmediated duel between the violence of the criminal and the violence of the state. This groundbreaking book by the most influential philosopher since Sartre compels us to reevaluate our assumptions about all the ensuing reforms in the penal institutions of the West. For as he examines innovations that range from the abolition of torture to the institution of forced labor and the appearance of the modern penitentiary, Michel Foucault suggests that punishment has shifted its locus from the prisoner's body to his soul--and that our very concern with rehabilitation encourages and refines criminal activity. Lucidly reasoned and deftly marshaling a vast body of research, Discipline and Punish is a genuinely revolutionary book, whose implications extend beyond the prison to the minute power relations of our society.