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TABLE 41 is a novel in which you, the reader, are the main character. You move into the space described by the novel. You move through the space. You enter the world of words that I have created. At times, you are a voyeur. At other times, you are a victim.
A man who falls in love with himself and is sexually attracted to his own body carries out an erotic relationship with a blow-up doll, rejects the advances of his admirers, and descends into a world filled with bizzare characters, eventually assassinating a pop diva.
A scene of self-sacrifice can never be staged or secured. The work of Friedrich Hölderlin, arguably one of the most profound writers of the German Enlightenment, supports this idea in fascinating ways. Much of Hölderlin's critical reception, however, has the poet saying the exact opposite. Joseph Suglia counters the dominant critical reception of Hölderlin's Empedokles fragments, which would transform the tragic hero's experience of mortality into a project that would be accomplished in the name of the transcendent reconciliation of disparate spheres. This book also focuses on a densely detailed consideration of the work of the great French critic and literary artist, Maurice Blanchot, whose own treatment of self-sacrifice exists in closer proximity to Hölderlin's than the former appears to recognize. For Blanchot, it is argued, self-sacrifice is «a sacrifice that is an engagement with, in, and for language, a sacrifice that is both madness and mystery».
It's late spring of 2008, and one of Illinois' two Democratic senators is poised to become the next president of the United States. Colleen Dugan works for the other one--not on Capitol Hill, but in a Chicago skyscraper that overlooks Lake Michigan, among coworkers with little to do but field calls from angry constituents while the future of the nation gets decided elsewhere. In the coming weeks, Colleen will navigate the perils of costumed protestors, thuggish union reps, vacuous interns, trifling bureaucrats, dirty tricks by the senator's Republican rival, and the unexpected discovery of a scandalous secret that will give her the power to change the course of the election and shape her own fate--though not necessarily for the better. A quarter-life crisis viewed from the ghostly perspective of the Founding Fathers, this is a hilarious and heartbreaking story about American politics and the difficult business of being a good citizen: walking the tricky line between self-sacrifice and self-sabotage, between doing your part and knowing your place.
In Sacrifice in Modernity: Community, Ritual, Identity it is demonstrated how sacrificial themes remain an essential element in our post-modern society.
Kafka's features, and that dreaded word, Kafkaesque, are known to millions who have never read serious literature. Generations of academics and critics have maintained the image of Franz Kafka as a tortured seer whose works defy interpretation. In Excavating Kafka James Hawes reveals the truth that lies beneath the image of a middle-European Nostradamus with a typographically irresistible name. The real Franz Kafka was no angst-ridden paranoid but a well-groomed young man-about-town who frequented brothels, had regular sex with a penniless-but-pretty girl and subscribed to upmarket pornography (published by the very man who published Kafka's first stories). Excavating Kafka debunks a number ...
WINNER OF THE 2016 DRUE HEINZ LITERATURE PRIZE Winner of the 2017 California Book Awards, first fiction category Many of these richly layered stories juxtapose the miracles of modern medicine against the inescapable frustrations of everyday life: awkward first dates, the indignities of air travel, and overwhelming megastore cereal aisles. In "Go Forth," an aging couple attends a kidney transplant reunion, where donors and recipients collide with unexpected results; in "Hounds," a woman who runs a facial reconstruction program for veterans nurses her dying dog while recounting the ways she has used sex as both a weapon and a salve; and in "Consider this Case," a lonely fetal surgeon caring fo...
"Tanizaki Jun'ichiro is read to examine historiographical representation and to consider the possibilities of the parodic as a fundamentally perverse, queer practice. Finally, a study of selected essays by Sue Golding points a way to think toward the necessary conjunction of the ethical, the political, and the perverse; in order, that is to say, to think toward a politics of inconsolable perversity."--BOOK JACKET.
Has thinking, working and teaching in terms of national literatures become obsolete in today’s globalized world of hyphenated languages, literatures and cultures? Since the rise of modern European national philologies coincided with the emergence of modern European nation-states, does the dissolution of the latter in the European supranational unity imply the suspension of the former? Or we must, on the contrary, consider the fact that today’s Europe is not only postnational but, in its re-nationalized East-Central-European part, post-multinational as well, i.e., emerging out of the breakdown of the postimperial state formations such as the Soviet Union, Czechoslovakia and Yugoslavia?
Martin Heidegger is one of the most influential philosophers of the 20th Century, and a key philosophical resource for literary critics. Not only has he written about poetry, generations of poets have engaged his writings. And yet, for Heidegger poetry and literature are separate. An essential part of the project of this book therefore is to show how both the distinction and connection between literature and poetry is staged within Heidegger's thought. It offers Heidegger's perspective on a range of key themes, topics, poets, and writers, including Poetry and Poetics, Ancient Greek theatre and tragedies and then specifically Friedrich Hölderlin, Thomas Mann, Paul Celan, Euripides and Sophocles. As the Chapters comprising this book make clear, Heidegger's work remains indispensable for any serious engagement with either literature or poetry today.