A deft combination of narrative and portraiture that breaks the taboo around dementia, replacing the fear and futility with empathy and nuance. A graphic designer, a writer, a public servant, a retired PhD, a 29-year-old with early-onset Alzheimer’s. These are just some of the 50 million people living with dementia who share their deeply personal stories with Joe Wallace in The Day after Yesterday, a powerful collection of portraits and personal stories that humanizes the millions of people living with the disease. Each story in this poignant volume offers a unique and powerful lesson—not just about how to live with a terminal illness, but how to do so with resilience and dignity. Dementia is often a taboo subject with limited public awareness or discourse. A diagnosis can become a mechanism for segregating those affected from society, making it easier to see only the label and not the individual, which, in turn, makes it easier to ignore the burgeoning health crisis and the individuals themselves. But as one man told Wallace, “Don’t believe the narrative that life is over. I want my voice to help get people to treat us the same as they did before we got the diagnosis. We may change some, but we are the same people!” More than a visual representation, The Day after Yesterday’s compassionate portraits capture the dignity and richness of each individual, destigmatizing dementia and enabling a loving, respectful, and much-needed conversation.
Collects tales from iconic writers and artists including Al Feldstein, William Gaines, Jack Kamen, George Roussos, Wally Wood, Joe Orlando, and Max Elkan"--
Collects tales from iconic writers and artists including Al Feldstein, William Gaines, Jack Kamen, George Roussos, Wally Wood, Joe Orlando, and Max Elkan"--
In recent years Nietzsche has emerged as a presiding genius of our intellectual epoch. Although scholars have noted the influence of Nietzsche's thought on Wallace Stevens, the publication of Early Stevens establishes, for the first time, the extent to which Nietzsche pervades Steven's early work. Concentrating on poems published between 1915 and 1935--but moving occasionally into later poems, as well as letters and essays--B.J. Leggett draws together texts of Stevens and Nietzsche to produce new and surprising readings of the poet's early work. For instance, "Peter Quince at the Clavier" is read in the light of Nietzsche's discussion of Apollonian and Dionysian art in The Birth of Tragedy; Stevens' early poems on religion, including principally "Sunday Morning," are seen through the perspective of Nietzsche's doctrines of the transvaluation of values, genealogy, and the innocence of becoming; Stevens' notions of femininity, virility, and poetry are examined in relation to Nietzsche's texts on gender and creativity. This intertextual critique reveals previously undisclosed ideologies operating at the margins of Stevens' work, enabling Leggett to read aspects of the poetry that have until now been unreadable. Early Stevens also considers such issues as Stevens' perspectivism, his aphoristic style, the Nietzschean epistemology of his poems of order, and the implications of notions of art, untruth, fiction, and interpretation in both Stevens and Nietzsche. Though many critics have discussed the concept of intertextuality, few have attempted a truly intertextual reading of a particular poet. Early Stevens is an exemplary model of such a reading, marking a significant advance in both the form and substance of our understanding of this quintessential modern poet.
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