How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster’s infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

    And I have an increasingly keen sense that, wherever I am, someone nearby is suffering now.For that reason, I lately have settled in to mull the matter over, gathering my troubled wits to undertake a difficult essay, more like what we used to call an assay, really—an earnest inquiry. I am thinking of it just now as a study in suffering, by which I hope to find some sense in affliction, hoping—just as I have come to hope about experience in general—to make something of it.” Is there meaning in our afflictions?With the thoughtfulness of a pilgrim and the prose of a poet, Scott Cairns takes us on a soul-baring journey through “the puzzlement of our afflictions.” Probing ancient Christian wisdom for revelation in his own pain, Cairns challenges us toward a radical revision of the full meaning and breadth of human suffering. Clear-eyed and unsparingly honest, this new addition to the literature of suffering is reminiscent of The Year of Magical Thinking as well as the works of C. S. Lewis. Cairns points us toward hope in the seasons of our afflictions, because “in those trials in our lives that we do not choose but press through—a stillness, a calm, and a hope become available to us.”

    It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.

    But that was only part of the tale… Now, in his own words, “Irish” Micky Ward tells his inspirational life story as only he can. From his first bout at the age of seven, Micky Ward was known first and foremost for giving as good as he got, and for leaving absolutely everything he had in the ring. When he fought, quitting was never an option. It was that indomitable spirit that would allow him to survive, battle against, and overcome the harsh realities that he faced every day of his life.For it was outside the ring that Ward’s heart would be most needed, from witnessing his idolized older half-brother Dicky fall from grace, to dealing with his wildly dysfunctional—if frighteningly loyal—family, to the darkest of secrets that he has never revealed until now, and the numerous setbacks and defeats that would have stopped a lesser man. Micky Ward has remained a fighter, through and through—both as a professional boxer, and as a man who finally found his greatest strength in friendship, family, and faith in himselfFrom the rough streets of Lowell, Massachusetts, to the blood and sweat of the international fight game, to the bright lights and adulation of Hollywood, this is the rousing, moving, tragic, and humorous story of the one and only Micky Ward.

    But not everyone accepts the same religious premises or recognizes the same spiritual authorities. Are there public arguments--reasons that can be given that do not presuppose agreement on religious grounds or common religious commitments--that can guide our thoughts and actions, as well as our laws and public policies?In Ten Universal Principles: A Brief Philosophy of the Life Issues, Jesuit Father Robert Spitzer sets out, in a brief, yet highly-readable and lucid style, ten basic principles that must govern the reasonable person's thinking and acting about life issues. A highly-regarded philosopher, Father Spitzer provides an intelligent outline for thinking and talking about human life. This book is a powerful tool for persuasively articulating and effectively inculturating a prolife philosophy.

    

    Twentysomethings, brought up with divorce, Watergate and Three Mile Island, and scarred by the 80s fall-out of yuppies, recession, crack and Ronald Reagan, they represent the new generation - Generation X.Fiercely suspicious of being lumped together as an advertiser's target market, they have quit dreary careers and cut themselves adrift in the California desert. Unsure of their futures, they immerse themselves in a regime of heavy drinking and working at no-future McJobs in the service industry.Underemployed, overeducated, intensely private and unpredictable, they have nowhere to direct their anger, no one to assuage their fears, and no culture to replace their anomie. So they tell stories; disturbingly funny tales that reveal their barricaded inner world. A world populated with dead TV shows, 'Elvis moments' and semi-disposable Swedish furniture...

    Oxford Street is a sea of long hair and flared jeans; prog rock prevails. But Ron Watts, the 100 Club’s “rock night” manager, has witnessed the impromptu and chaotic gigs at High Wycombe College of Art. He invites the Sex Pistols to start a residency in central London, and over the next eighteen months, everything changes.            Unlike many writers, Phil Strongman was actually at the 100 Club punk festival in September 1976 and witnessed punk’s violent and dramatic rise. After tracing its underground roots in New York and Detroit, Strongman shows how the Sex Pistols and the Clash, along with their confreres, took rock ’n’ roll closer to the edge than any band before them. But after the outrage over the Pistols’ legendary outburst on Bill Grundy’s TV show catapulted the band into the center of a press feeding frenzy, it was swiftly eclipsed by the blossoming of a new movement in time for the Queen’s Silver Jubilee. Punk had traveled from the underground to the mainstream in the space of six months.            Based on new interviews with Malcolm McLaren, Jah Wobble, Glen Matlock, Roadent, and many more, Strongman vividly re-creates the punk eruption and charts its spread across Britain and to the West Coast of the United States. Thirty years after its inception, UK punk has found its definitive account in Pretty Vacant.

    The dialectical framework, integrated throughout the book, is used as a lens to examine the relationship of these research traditions. This text is unique in its emphasis on the importance of histories, popular culture, and identities.

    This essay is an attempt to contribute effective strategies to engage our own time and culture once more with the Gospel of Jesus Christ and – for a weary world – to awaken the Catholic imaginative vision.

    Centuries ago, it was proclaimed of the Mahabharata: "What is not in it, is nowhere." But even now, we can use the same words about it. He who knows it not, knows not the heights and depths of the soul; he misses the trials and tragedy and the beauty and grandeur of life. The Mahabharata is not a mere epic; it is a romance telling the tale of heroic men and women, and of some who were divine. It is a whole literature in itself, containing a code of life, a philosophy of social and ethical relations, and speculative thought on human problems that is hard to rival.

    Deeply troubled by his struggle—and failure—to achieve spiritual perfection, Petrarch, considered the forefather of Italian humanism, sought catharsis in the writing of a “secret book.” Only here could he pour out his innermost thoughts, frustrations, and desires. Written in the form of a dialogue between himself and St. Augustine, the book wrestles with the universal themes of suffering, desire, fear, and joy. The result is a rare insight into Petrarch’s life and thought and a remarkable early example of self-revelation and autobiography.

    After exploring the depths of Moscow's “Underground Planet,” Kalder journeyed to the Ukraine to chase down demons and exorcists in the dubious afterglow of the Orange Revolution, before meeting a man called Vissarion Christ—a one-time traffic cop, he is now messiah to thousands of followers in Siberia. Salvation and damnation collide as Daniel Kalder expertly guides us through this unique account of a modern day quest that reveals the astonishing lengths people will go to when they view the world through a “strange telescope.”

    In this stunningly unusual prose debut, Doireann Ni Ghriofa sculpts essay and autofiction to explore inner life and the deep connection felt between two writers centuries apart. In the 1700s, an Irish noblewoman, on discovering her husband has been murdered, drinks handfuls of his blood and composes an extraordinary poem. In the present day, a young mother narrowly avoids tragedy. On encountering the poem, she becomes obsessed with its parallels with her own life, and sets out to track down the rest of the story. A devastating and timeless tale about one woman freeing her voice by reaching into the past and finding another's.

    This prodigious narrative, composed by the poet Ferdowsi between the years 980 and 1010, tells the story of pre- Islamic Iran, beginning in the mythic time of Creation and continuing forward to the Arab invasion in the seventh century. As a window on the world, "Shahnameh" belongs in the company of such literary masterpieces as Dante's "Divine Comedy," the plays of Shakespeare, the epics of Homer- classics whose reach and range bring whole cultures into view. In its pages are unforgettable moments of national triumph and failure, human courage and cruelty, blissful love and bitter grief.In tracing the roots of Iran, "Shahnameh" initially draws on the depths of legend and then carries its story into historical times, when ancient Persia was swept into an expanding Islamic empire. Now Dick Davis, the greatest modern translator of Persian poetry, has revisited that poem, turning the finest stories of Ferdowsi's original into an elegant combination of prose and verse. For the first time in English, in the most complete form possible, readers can experience "Shahnameh" in the same way that Iranian storytellers have lovingly conveyed it in Persian for the past thousand years.