My name is Pamela Harr. This is my story. This is my story of my experiences when my husband, Harvey Rattey, was in the last stages of Alzheimer’s Disease, as told through email messages to friends and family. As clearly as I could I told how I felt while Harvey and I experienced our lives as the days and months passed. I will take you on a day-to-day journey with me as I struggle to balance life with other family members, with my husband’s and my business, and daily activities, all the while seeking the best available care for my husband. While Alzheimer’s is a tragic disease, my story is not tragic. Every day brought moments of intense love, times of joy, and unexpected humor. In seeking to understand how I could best care for my husband, I met new friends and helpers, strengthened my relationship with friends and family in our isolated eastern Montana community, and found a support group who will remain with me through the remainder of my life. I am aware that often my fears, my frustrations and my helplessness, my love, colored my observations and my perceptions. I mean no offense to anyone. I appreciate the gentleness and dedication of the caregivers who worked with us. I appreciate the care and support of my friends.

In this collection, leading scholars in both film studies and Israeli studies show that beyond representing familiar historical accounts or striving to offer a more complete and accurate depiction of the past, Israeli cinema has innovatively used trauma and memory to offer insights about Israeli society and to engage with cinematic experimentation and invention. Tracing a long line of films from the 1940s up to the 2000s, the contributors use close readings of these films not only to reconstruct the past, but also to actively engage with it. Addressing both high-profile and lesser known fiction and non-fiction Israeli films, Deeper than Oblivion underlines the unique aesthetic choices many of these films make in their attempt to confront the difficulties, perhaps even impossibility, of representing trauma. By looking at recent and classic examples of Israeli films that turn to memory and trauma, this book addresses the pressing issues and disputes in the field today.

Deeper than African Soil captures the romantic, pores-open wonder of a child raised among worlds. It unveils the adventure and suffering of revolution, disease, boarding school trauma, wrenching farewells and losses deeper than most people endure in a lifetime. It explores the nature of memory itself, why we repress it and how to call it forth, all five senses open. Daughter of Canadian Mennonites, Faith Eidse was separated from family at the scariest moments of her life. Amid postcolonial tensions in Congo, Canada and the U.S., Faith and her sisters—Hope, Charity and Grace—lived vivid lives, bridging cultures from their home (Dutch Mennonite) to their host villages in southern Manitoba, the American Midwest and southwestern Congo. Yet home was always changing—sometimes drastically. Faith seldom felt she truly belonged to the places they lived. In the United States, Faith was an immigrant. In her parents’ passport country, Canada, she was a visitor. In Congo, she claimed friendship, longing and memories. She related to all cultures yet owned none, formed identity from bits of home (first culture) and host (second or third) cultures to create a unique third culture. “Third culture kids” each have their own enriched, complicated story but share a diaspora of the heart and longing for home. (352pp. illus. Masthof Press, 2023.)

Abyat-e-Bahoo (Sultan Bahoo's Sufi Poems) is considered a master piece amongst the seekers of Sufi teachings, written originally in Saraiki (dialect of Punjabi) and now exquisitely translated into English by Dr. Z. A. Awan. The reality of soul and spirit is described in most eloquent manner for the people seeking Sufi path and spiritual satisfaction of the inner most. There are sections in the book which describe key concepts of spiritualism which will also elucidate Wahdaniyat (Oneness), Risalat (the messenger's following is obedience to Allah), and other perquisites for awakening your soul-sprit to be His best friend i.e. Faqr-Faqeer (code of contentment by a contended person): Dhikr-Fikr (Remembrance, Contemplation, Love of Allah), Murshid-Mureed , Language-literature. These concepts will certainly facilitate the respected readers in understanding these deliberations. This is important for a reader to be fully familiar with terminology and concepts of Abyat . The reason for this renewed format about Sultan Bahoo's valuable contribution (Abyat) is to develop an invigorating interest for international academia.

"This will cast a spell on fans of Cheryl Strayed and Glennon Doyle." - Publishers Weekly Between Two Kingdoms meets Wild. In this heart wrenching and inspirational memoir a woman and her mother, who is suffering from dementia, embark on a road trip through national parks, revisiting the memories, and the mountains, that made them who they are. Steph Jagger lost her mother before she lost her. Her mother, stricken with an incurable disease that slowly erases all sense of self, struggles to remember her favorite drink, her favorite song, and—perhaps most heartbreaking of all—Steph herself. Steph watches as the woman who loved and raised her slips away before getting the chance to tell her story, and so Steph makes a promise: her mother will walk it and she will write it. Too aware of her mother’s waning memory, Steph proposes that the two take a camping trip out to Montana—which her mother, on the urging of Steph’s father, agrees to embark upon. An adventure full of horseback riding, hiking, and “tenting” out West quickly turns into one woman’s reflection on childhood, motherhood, personhood—and what it means to love someone who doesn’t quite remember the person she spent her lifetime becoming. A staggeringly beautiful examination of how stories are passed down through generations and from Mother Nature, Everything Left to Remember brings us the wisdom of who our memories make us under the constellations of the vast Montana sky.

An exploration of life at the margins of history from one of Russia’s most exciting contemporary writers Shortlisted for the 2021 International Booker Prize Winner of the MLA Lois Roth Translation Award With the death of her aunt, the narrator is left to sift through an apartment full of faded photographs, old postcards, letters, diaries, and heaps of souvenirs: a withered repository of a century of life in Russia. Carefully reassembled with calm, steady hands, these shards tell the story of how a seemingly ordinary Jewish family somehow managed to survive the myriad persecutions and repressions of the last century. In dialogue with writers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various forms—essay, fiction, memoir, travelogue, and historical documents—Stepanova assembles a vast panorama of ideas and personalities and offers an entirely new and bold exploration of cultural and personal memory.

Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories--multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large. In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.