Vibrant Death links philosophy and poetry-based, corpo-affectively grounded knowledge seeking. It offers a radically new materialist theory of death, critically moving the philosophical argument beyond Christian and secular-mechanistic understandings. The book's ethico-political figuration of vibrant death is shaped through a pluriversal conversation between Deleuzean philosophy, neo-vitalist materialism and the spiritual materialism of decolonial, queerfeminist poet and scholar Gloria Anzaldua. The book's posthuman deexceptionalizing of human death unfurls together with a collection of poetry, and autobiographical stories. They are analysed through the lens of a posthuman, queerfeminist revision of the method of autophenomenography (phenomenological analysis of autobiographical material). Nina Lykke explores the speaking position of a mourning, queerfeminine ”I”, who contemplates the relationship with her dead beloved lesbian life partner. She reflects on her enactment of processes of co-becoming with the phenomenal and material traces of the deceased body, and the new assemblages with which it has merged through death's material metamorphoses: becoming-ashes through cremation, and becoming-mixed-with-algae-sand when the ashes were scattered across a seabed made of fiftyfive million-year-old, fossilized algae. It is argued that the mourning “I”'s intimate bodily empathizing (theorized as symphysizing) with her deceased, queermasculine beloved life partner facilitates the processes of vitalist-material and spiritual-material co-becoming, and the rethinking of death from a new and different perspective than that of the sovereign, philosophical subject.

Vibrant Death links philosophy and poetry-based, corpo-affectively grounded knowledge seeking. It offers a radically new materialist theory of death, critically moving the philosophical argument beyond Christian and secular-mechanistic understandings. The book's ethico-political figuration of vibrant death is shaped through a pluriversal conversation between Deleuzean philosophy, neo-vitalist materialism and the spiritual materialism of decolonial, queerfeminist poet and scholar Gloria Anzaldua. The book's posthuman deexceptionalizing of human death unfurls together with a collection of poetry, and autobiographical stories. They are analysed through the lens of a posthuman, queerfeminist revision of the method of autophenomenography (phenomenological analysis of autobiographical material). Nina Lykke explores the speaking position of a mourning, queerfeminine ”I”, who contemplates the relationship with her dead beloved lesbian life partner. She reflects on her enactment of processes of co-becoming with the phenomenal and material traces of the deceased body, and the new assemblages with which it has merged through death's material metamorphoses: becoming-ashes through cremation, and becoming-mixed-with-algae-sand when the ashes were scattered across a seabed made of fiftyfive million-year-old, fossilized algae. It is argued that the mourning “I”'s intimate bodily empathizing (theorized as symphysizing) with her deceased, queermasculine beloved life partner facilitates the processes of vitalist-material and spiritual-material co-becoming, and the rethinking of death from a new and different perspective than that of the sovereign, philosophical subject.

"Built on her ... Modern Love column, 'When a Couch is More Than a Couch' (9/23/2016), a ... memoir of living meaningfully with 'death in the room' by the 38-year-old great-great-great granddaughter of Ralph Waldo Emerson--mother to two young boys, wife of 16 years--after her terminal cancer diagnosis"--

In Vibrant Matter the political theorist Jane Bennett, renowned for her work on nature, ethics, and affect, shifts her focus from the human experience of things to things themselves. Bennett argues that political theory needs to do a better job of recognizing the active participation of nonhuman forces in events. Toward that end, she theorizes a “vital materiality” that runs through and across bodies, both human and nonhuman. Bennett explores how political analyses of public events might change were we to acknowledge that agency always emerges as the effect of ad hoc configurations of human and nonhuman forces. She suggests that recognizing that agency is distributed this way, and is not solely the province of humans, might spur the cultivation of a more responsible, ecologically sound politics: a politics less devoted to blaming and condemning individuals than to discerning the web of forces affecting situations and events. Bennett examines the political and theoretical implications of vital materialism through extended discussions of commonplace things and physical phenomena including stem cells, fish oils, electricity, metal, and trash. She reflects on the vital power of material formations such as landfills, which generate lively streams of chemicals, and omega-3 fatty acids, which can transform brain chemistry and mood. Along the way, she engages with the concepts and claims of Spinoza, Nietzsche, Thoreau, Darwin, Adorno, and Deleuze, disclosing a long history of thinking about vibrant matter in Western philosophy, including attempts by Kant, Bergson, and the embryologist Hans Driesch to name the “vital force” inherent in material forms. Bennett concludes by sketching the contours of a “green materialist” ecophilosophy.

"Splendid" —New York Times "Mind-bending." —Wall Street Journal "Brilliantly original. The best new novel I've read this year." —Salman Rushdie A daring, kaleidoscopic novel about the clash of empires and ideas, told through a tennis match in the sixteenth century between the radical Italian artist Caravaggio and the Spanish poet Francisco de Quevedo, played with a ball made from the hair of the beheaded Anne Boleyn. The poet and the artist battle it out in Rome before a crowd that includes Galileo, a Mary Magdalene, and a generation of popes who would throw the world into flames. In England, Thomas Cromwell and Henry VIII execute Anne Boleyn, and her crafty executioner transforms her legendary locks into those most-sought-after tennis balls. Across the ocean in Mexico, the last Aztec emperors play their own games, as the conquistador Hernán Cortés and his Mayan translator and lover, La Malinche, scheme and conquer, fight and f**k, not knowing that their domestic comedy will change the course of history. In a remote Mexican colony a bishop reads Thomas More’s Utopia and thinks that it’s a manual instead of a parody. And in today’s New York City, a man searches for answers to impossible questions, for a book that is both an archive and an oracle. Álvaro Enrigue’s mind-bending story features assassinations and executions, hallucinogenic mushrooms, bawdy criminals, carnal liaisons and papal schemes, artistic and religious revolutions, love and war. A blazingly original voice and a postmodern visionary, Enrigue tells the grand adventure of the dawn of the modern era, breaking down traditions and upending expectations, in this bold, powerful gut-punch of a novel. Game, set, match. “Sudden Death is the best kind of puzzle, its elements so esoteric and wildly funny that readers will race through the book, wondering how Álvaro Enrigue will be able to pull a novel out of such an astonishing ball of string. But Enrigue absolutely does; and with brilliance and clarity and emotional warmth all the more powerful for its surreptitiousness.” —Lauren Groff, New York Times-bestselling author of Fates and Furies "Engrossing... rich with Latin and European history." —The New Yorker "[A] bawdy, often profane, sprawling, ambitious book that is as engaging as it is challenging.” —Vogue

Utilising a wide range of early sources, this title identifies the roots of the concept of Christian martyrdom, as lloking at how it has been expressed in events such as the shootings at Columbine High School in 1999.