Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    So great was his stature as an Urdu poet that he never had to mould his poetry to suit the demands of film songwriting; instead, producers and composers adapted their requirements to his poetry. His songs in films like Pyaasa, Naya Daur and Phir Subah Hogi have attained the status of classics. This exhaustive biography traces the poet’s rich life, from his troubled childhood and his equally troubled love relationships, to his rise as one of the pre-eminent personalities of the Progressive Writers Movement and his journey as lyricist through the golden era of Hindi film music, the 1950s and 1960s.

    From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.

    Drawing from his unique cultural vision, Žižek brings new light to the Paris riots of 2005; he questions the permissiveness of violence in philanthropy; in daring terms, he reflects on the powerful image and determination of contemporary terrorists.Violence, Žižek states, takes three forms--subjective (crime, terror), objective (racism, hate-speech, discrimination), and systemic (the catastrophic effects of economic and political systems)--and often one form of violence blunts our ability to see the others, raising complicated questions.Does the advent of capitalism and, indeed, civilization cause more violence than it prevents? Is there violence in the simple idea of "the neighbour"? And could the appropriate form of action against violence today simply be to contemplate, to think?Beginning with these and other equally contemplative questions, Žižek discusses the inherent violence of globalization, capitalism, fundamentalism, and language, in a work that will confirm his standing as one of our most erudite and incendiary modern thinkers.

    Along the way, he also addressed Batman with his multi-layered ARKHAM ASYLUM and his literary "Gothic" storyline. Callahan examines all five works in detail, drawing out their evolving themes and exploring Morrison's sometimes difficult texts in plain language. Rounding out the volume: an exclusive interview with Morrison, a foreword by popular comics writer Jason Aaron, and an appendix addressing Morrison's even earlier, shorter work. From Sequart Research & Literacy Organization. More info at http: //Sequart.org

    In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance.In this follow-up to the acclaimed The Future of the Image, Rancière takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

    Was he exactly the bold and fearless policy doctor that the troubled body politic of Malaysia needed? Or was he just another mendacious mediocrity with a record of persistent misdiagnoses, phony remedies and self-serving justifications? Only history's judgment can offer the final verdict but Dr Mahathir himself is in no doubt. In a riveting series of unprecedented conversations, Malaysia's most famous former prime minister reveals to American journalist and author Tom Plate a panoramic panoply of views on governing, on Islam, on Jews, on the West and on Malays that are striking in historical sweep and contemporary relevance.

    The story concludes with the stark contrast between high-minded Stoicism and the collapse of values witnessed by Tacitus and Juvenal.

    A humanist, a sceptic, an acute observer of himself and others, he reflects the great themes of existence through the prism of his own self-consciousness. Apparent in every line he wrote, his virtues of tolerance, moderation and disinterested inquiry amount to an undeclared manifesto for the Enlightenment, whose prophet he is. This complete edition of his works supplements the Essays with travel diaries and letters, thereby completing the portrait of a true Renaissance man.

    In the West, Marpa is best known through his teacher, the Indian yogin Nâropa, and through his closest disciple, Milarepa. This lucid and moving translation of a text composed by the author of The Life of Milarepa and The Hundred Thousand Songs of Milarepa documents the fascinating life of Marpa, who, unlike many other Tibetan masters, was a layman, a skillful businessman who raised a family while training his disciples. As a youth, Marpa was inspired to travel to India to study the Buddhist teachings, for at that time in Tibet, Buddhism has waned considerably through ruthless suppression by an evil king. The author paints a vivid picture of Marpa's three journeys to India: precarious mountain passes, desolate plains teeming with bandits, greedy customs-tax collectors. Marpa endured many hardships, but nothing to compare with the trials that ensued with his guru Nâropa and other teachers. Yet Marpa succeeded in mastering the tantric teachings, translating and bringing them to Tibet, and establishing the Practice Lineage of the Kagyüs, which continues to this day.

    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."

    The anguished and volatile intensity associated with the artistic temperament was once thought to be a symptom of genius or eccentricity peculiar to artists, writers, and musicians. Her work, based on her study as a clinical psychologist and researcher in mood disorders, reveals that many artists subject to exalted highs and despairing lows were in fact engaged in a struggle with clinically identifiable manic-depressive illness. Jamison presents proof of the biological foundations of this disease and applies what is known about the illness to the lives and works of some of the world's greatest artists including Lord Byron, Vincent Van Gogh, and Virginia Woolf.

    Discover the core skills of effective thinking; then analyze your own thought processes, identify weaknesses, and overcome them.

    How Like a Leaf will be a welcome inside view of the author's thought.