For years, theater director Bryan Doerries has led an innovative public health project that produces ancient tragedies for current and returned soldiers, addicts, tornado and hurricane survivors, and a wide range of other at-risk people in society. Drawing on these extraordinary firsthand experiences, Doerries clearly and powerfully illustrates the redemptive and therapeutic potential of this classical, timeless art: how, for example, Ajax can help soldiers and their loved ones better understand and grapple with PTSD, or how Prometheus Bound provides new insights into the modern penal system. These plays are revivified not just in how Doerries applies them to communal problems of today, but in the way he translates them himself from the ancient Greek, deftly and expertly rendering enduring truths in contemporary and striking English.   The originality and generosity of Doerries’s work is startling, and The Theater of War—wholly unsentimental, but intensely felt and emotionally engaging—is a humane, knowledgeable, and accessible book that will both inspire and enlighten. Tracing a path that links the personal to the artistic to the social and back again, Doerries shows us how suffering and healing are part of a timeless process in which dialogue and empathy are inextricably linked.

    Where the fathers imbibed the doctrine of Confucius and learned the classics and revolted against them, these young people have been battered by many forces of the new times. They have been taught something of science, something of Christianity, something of atheism, something of free love, something of communism, something of Western philosophy, something of modern militarism, something, in fact, of everything. In the midst of the sturdy medievalism of the masses of their countrymen the young intellectuals have been taught the most extreme of every culture. Intellectually they have been forced to the same great omissions that China has made physically. They have skipped, figuratively speaking, from the period of the unimproved country road to the aero plane era. The omission was too great. The mind could not compensate for it. The spirit was lost in the conflict. The first result, therefore, of the hiatus was undoubtedly to produce a class of young Chinese, both men and women, but chiefly men, who frankly did not know how to live in their own country or in the age in which their country still was. They were for the most part educated abroad, where they forgot the realities of their own race. It was easy enough for various revolutionary leaders to persuade these alienated minds that China's so-called backwardness was due primarily to political and material interference by foreign powers. The world was made the scapegoat for Chinas medievalism. Instead of realizing that China was in her own way making her own steps, slowly, it is true, and somewhatponderously, toward modernity, it was easy hue and cry to say that if it had not been for foreigners she would have been already on an equality, in material terms, with other nations. The result of this was a fresh revolution of a sort. China practically rid herself of her two great grievances outside of Japan, extraterritoriality and the tariff. No great visible change appeared as a consequence. It became apparent that what had been weaknesses were still weaknesses, and that these were inherent in the ideology of the people. It was found, for instance, that when a revolutionary leader became secure and entrenched he became conservative and as corrupt, too often, as an old style official. The same has been true in other histories. There were too many honest and intelligent young minds in China not to observe and accept the truth, that the outside world had very little to do with Chinas condition, and what she had to do with it could have been prevented if China had been earlier less sluggish and her leaders less blind and selfish. Then followed a period of despair and frenzy and increased idealistic worship of the West. The evident prosperity of foreign countries was felt to be a direct fruit of Western scientific development.

    Here he argues that Canada did not begin in 1867; indeed, its foundation was laid by two visionary men, Louis-Hippolyte LaFontaine and Robert Baldwin. The two leaders of Lower and Upper Canada, respectively, worked together after the 1841 Union to lead a reformist movement for responsible government run by elected citizens instead of a colonial governor.But it was during the "Great Ministry" of 1848—51 that the two politicians implemented laws that created a more equitable country. They revamped judicial institutions, created a public education system, made bilingualism official, designed a network of public roads, began a public postal system, and reformed municipal governance. Faced with opposition, and even violence, the two men— polar opposites in temperament—united behind a set of principles and programs that formed modern Canada. Writing with verve and deep conviction, Saul restores these two extraordinary Canadians to rightful prominence.

    Storr weighs and tests Freud's theory that creativity is the result of dissatisfaction by examining the impulses which drove Kafka, Newton and Churchill.

    He is ingenious, farsighted, and able to excavate the worlds of others, even the flakiest and most fanatical, with uncanny sympathy. Here, he reports back from the far reaches of belief, whether in the clear mountain air of "Sweet Fuck All, Colorado" or in a midnight congregation of urban anarchists celebrating a victory over police.From Dr. Cornel West to legendary banjo player Dock Boggs, from the youth evangelist Ron Luce to America's largest "Mind, Body, Spirit Expo," Sharlet profiles religious radicals, realists, and escapists. Including extended journeys published here for the first time, Sweet Heaven When I Die offers a portrait of our spiritual landscape that calls to mind Joan Didion's classic Slouching Towards Bethlehem.

    Such a legend has accrued to this movement that the story of the SI now demands to be told in a contemporary voice capable of putting it into the context of twenty-first-century struggles.McKenzie Wark delves into the Situationists’ unacknowledged diversity, revealing a world as rich in practice as it is in theory. Tracing the group’s development from the bohemian Paris of the ‘50s to the explosive days of May ‘68, Wark’s take on the Situationists is biographically and historically rich, presenting the group as an ensemble creation, rather than the brainchild and dominion of its most famous member, Guy Debord. Roaming through Europe and the lives of those who made up the movement—including Constant, Asger Jorn, Michèle Bernstein, Alex Trocchi and Jacqueline De Jong—Wark uncovers an international movement riven with conflicting passions.Accessible to those who have only just discovered the Situationists and filled with new insights, The Beach Beneath the Street rereads the group’s history in the light of our contemporary experience of communications, architecture, and everyday life. The Situationists tried to escape the world of twentieth-century spectacle and failed in the attempt. Wark argues that they may still help us to escape the twenty-first century, while we still can ...The book’s jacket folds out into a poster, Totality for Beginners, a collaborative graphic essay employing text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle.

    Deconstructionists, poststructuralists, postmodernists, second-wave feminists, new historicists, cultural materialists, postcolonialists, black critics and queer theorists, among a host of others, all vie for our attention. Stuart Sim and Borin Van Loon's incisive graphic guide provides a route through the tangled jungle of competing ideas and provides an essential historical context, situating these theories within tradition of critical analysis going back to the rise of Marxism. They present the essential methods and objectives of each theoretical school in an incisive and accessible manner, and pay special attention to recurrent themes and concerns that have preoccupied a century of critical theoretical activity.

    Increasingly this term is used to illustrate a bewildering array of ideas from key lines and the occult, to urban walking and political radicalism. But where does it come from and what exactly does it mean? This book examines the origins of psychogeography in the Situationist Movement of the 1950s, exploring the theoretical background and its political applications as well as the work of early practitioners such as Guy Debord and Raoul Vaneigem. Elsewhere, psychogeographic ideas continue to find retrospective validation in much earlier traditions from the visionary writing of William Blake and Thomas De Quincey to the rise of the flaneur on the streets of 19th century Paris and on through the avant-garde experimentation of the Surrealists. These precursors to psychogeography are discussed here alongside their modern counterparts, for today these ideas hold greater currency than ever through the popularity of writers and filmmakers such as Iain Sinclair and Peter Ackroyd, Stewart Home and Patrick Keiller. From Urban Wandering to Cognitive Mapping, from the Derive to Detournement, psychogeography provides us with new ways of apprehending our surroundings, transforming the familiar streets of our everyday experience into something new and unexpected. This guide conducts the reader through this process, offering both an explanation and definition of the terms involved, and an analysis of the key figures and their work as well as practical information on psychogeographical groups and organizations.

    For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to the twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind. Here you will find another "splendid array of unpredictable and delectable essays" (Booklist), chosen by the Pulitzer Prize-winning writer Louis Menand, another collection with "delights on every page" (Dallas Morning News). The Best American Essays once again earns its place as the liveliest and leading annual of its kind.