Publisher:
The University of Chicago Press, Chicago
In Black Paper, Teju Cole meditates on what it means to keep our humanity and witness the humanity of others in a time of darkness. "Darkness," Cole writes, "is not empty." Through art, politics, travel, and memoir, he returns us to the wisdom latent...
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Universität Mainz, Bereichsbibliothek Georg Forster-Gebäude / USA-Bibliothek
Signature:
700.103 COL
Inter-library loan:
Unlimited inter-library loan, copies and loan
In Black Paper, Teju Cole meditates on what it means to keep our humanity and witness the humanity of others in a time of darkness. "Darkness," Cole writes, "is not empty." Through art, politics, travel, and memoir, he returns us to the wisdom latent in shadows, and sets the darkness echoing. The opening essay sets the mood for the book, as Cole travels to southern Italy and Sicily to view a series of Caravaggio paintings. He ponders the suffering that Caravaggio ("a murderer, a slaveholder, a terror, and a pest") both dealt out and experienced, and the disquieting echoes of that suffering in the abandoned boats of migrants arriving on nearby shores. This collection also gathers several of Cole's recent columns on photography for the New York Times Magazine and offers a suite of elegies to lost friends who show him and us ways of mourning in times of death.
Publisher:
The University of Chicago Press, Chicago
"In Black Paper, Teju Cole meditates on what it means to keep our humanity--and witness the humanity of others--in a time of darkness. "Darkness," Cole writes, "is not empty." Through art, politics, travel, and memoir, he returns us to the wisdom...
more
"In Black Paper, Teju Cole meditates on what it means to keep our humanity--and witness the humanity of others--in a time of darkness. "Darkness," Cole writes, "is not empty." Through art, politics, travel, and memoir, he returns us to the wisdom latent in shadows, and sets the darkness echoing. The opening essay sets the mood for the book, as Cole travels to southern Italy and Sicily to view a series of Caravaggio paintings. He ponders the suffering that Caravaggio ("a murderer, a slaveholder, a terror, and a pest") both dealt out and experienced, and the disquieting echoes of that suffering in the abandoned boats of migrants arriving on nearby shores. This collection also gathers several of Cole's recent columns on photography for the New York Times Magazine and offers a suite of elegies to lost friends who show him--and us--ways of mourning in times of death"--
