The Face
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The Face
In Time Code of a Face, bestselling author Ruth Ozeki recounts, in moment-to-moment detail, a profound encounter with memory and the mirror. The author challenges herself to spend three hours staring into her own reflection, recording her thoughts, and noticing every possible detail. Those solitary hours open up a lifetime's worth of meditations on race, age, family, death, the body, self doubt and, finally, acceptance. In a lyrical essay suffused with her Zen Buddhist practice and thoroughly unlike anything in the author's celebrated novels, Ozeki shows us just how rich and intimate the terrain of one's own face can be. Praise for Ruth Ozeki “Ozeki is one of my favorite novelists....bewitching, intelligent, hilarious, and heartbreaking, often on the same page.” —Junot Díaz, Pulitzer Prize winner and author of This Is How You Lose Her “Ozeki joins the constellation of such environmentally aware writers as Barbara Kingsolver, Annie Proulx, and Margaret Atwood.” —Chicago Tribune “A careful, considerate writer.” —Booklist Ruth Ozeki is a novelist, filmmaker, and Zen Buddhist priest. Her first two novels, My Year of Meats (1998) and All Over Creation (2003), have been translated into eleven languages and published in fourteen countries. Her most recent work, A Tale for the Time-Being (2013), won the LA Times book prize, was shortlisted for the Man Booker Prize and the National Book Critic's Circle Award, and has been published in over thirty countries. Ruth's documentary and dramatic independent films, including Halving the Bones, have been shown on PBS, at the Sundance Film Festival, and at colleges and universities across the country. A longtime Buddhist practitioner, Ruth was ordained in 2010 and is affiliated with the Brooklyn Zen Center and the Everyday Zen Foundation. She lives in British Columbia and New York City, and is currently the Elizabeth Drew Professor of Creative Writing at Smith College.
Why The Face?
A hilarious guessing game of facial reactions created by the author of bestselling This Is Not A Book Jean Jullien tickles the funnybone once again with a book of facial overreactions. Faces are presented first, allowing the reader to wager predictions of what may have prompted such an expression, before the dramatic answer is revealed. Why the face? reads the text alongside an agitated boy with eyes and nose scrunched up. Pick up the full-page flap to reveal a whole mess of smelly items, from stinky socks to an oozing trash can, and the text, Whoa, that stinks. Jullien masterfully provides enough clues for the reader to piece together the narrative, including both predictable and surprising scenarios. Based on young children's natural fascination with faces, this book encourages readers to practice empathy and build emotional intelligence, with cleverly simplified and humorously satisfying vignettes. A brilliant addition to Phaidon's growing Jean Jullien board book library. Ages 2-4
The Gift of the Face
Edward S. Curtis’s The North American Indian is the most ambitious photographic and ethnographic record of Native American cultures ever produced. Published between 1907 and 1930 as a series of twenty volumes and portfolios, the work contains more than two thousand photographs intended to document the traditional culture of every Native American tribe west of the Mississippi. Many critics have claimed that Curtis’s images present Native peoples as a “vanishing race,” hiding both their engagement with modernity and the history of colonial violence. But in this major reappraisal of Curtis’s work, Shamoon Zamir argues instead that Curtis’s photography engages meaningfully with the crisis of culture and selfhood brought on by the dramatic transformations of Native societies. This crisis is captured profoundly, and with remarkable empathy, in Curtis’s images of the human face. Zamir also contends that we can fully understand this achievement only if we think of Curtis’s Native subjects as coauthors of his project. This radical reassessment is presented as a series of close readings that explore the relationship of aesthetics and ethics in photography. Zamir’s richly illustrated study resituates Curtis’s work in Native American studies and in the histories of photography and visual anthropology.