Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

    Here is the Naked Ape at his most primal in love, at work, at war. Meet man as he really is: relative to the apes, stripped of his veneer as we see him courting, making love, sleeping, socializing, grooming, playing. The Naked Ape takes its place alongside Darwin’s Origin of the Species, presenting man not as a fallen angel, but as a risen ape, remarkable in his resilience, energy and imagination, yet an animal nonetheless, in danger of forgetting his origins. With its penetrating insights on man's beginnings, sex life, habits and our astonishing bonds to the animal kingdom, The Naked Ape is a landmark, at once provocative, compelling and timeless.

    Sebald completed this controversial book before his death in December 2001. On the Natural History of Destruction is his harrowing and precise investigation of one of the least examined silences of our time. In it, the novelist examines the devastation of German cities by Allied bombardment and the reasons for the astonishing absence of this unprecedented trauma from German history and culture. This historical void is in part a repression of things -- such as the death by fire of the city of Hamburg at the hands of the RAF -- too terrible to bear. But rather than record the crises about them, writers sought to retrospectively justify their actions under the Nazis. For Sebald, this is an example of deliberate cultural amnesia. His analysis of its effects in and outside Germany has already provoked angry painful debate. Sebald's novels are rooted in meticulous observation. His essays are novelistic. They include his childhood recollections of the war that spurred his horror at the collective amnesia around him. There are moments of black humor and, throughout, the sensitivity of his intelligence. This book is a study of suffering and forgetting, of the morality hidden in artistic decisions, and of both compromised and genuine heroics.

    Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.”Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.

    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.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    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.

    The book serves to illustrate and amplify Idries Shah's preceding (over 20) books on the Sufi Way.

    From Europe to Hong Kong to Thailand to Cambodia, he hunts the Big Smoke, bewildered by its elusiveness and, despite the meaning it continues to evoke as a cultural touchstone, its alleged extinction. Weaving his spiritual and hallucinogenic quests together with inimitable, razor-sharp prose, Tosches's trip becomes a deeper meditation on what true fulfillment is and why no one bothers to look for it any more.

    Dick is not only one of the “most valiant psychological explorers of the 20th century” (The New York Times) but a source of divine revelation. Dick, whose work inspired such films as Blade Runner, Total Recall, and Minority Report, dedicated his life to solving one ultimately unanswerable question: What is real?In the riveting style that won accolades for The Adversary, Emmanuel Carrère follows Dick’s strange odyssey from his traumatic beginnings in 1928, when his twin sister died in infancy, to his lonely end in 1982, beset by mystical visions of swirling pink lights, three-eyed invaders, and messages from the Roman Empire. Drawing on interviews as well as unpublished sources, Carrère traces Dick’s multiple marriages, paranoid fantasies, and vertiginous encounters with the drug culture of sixties California. He vividly conjures the spirit of this restless observer of American postwar malaise, whose more than fifty novels subverted the materials of science fiction—parallel universes, intricate time loops, collective delusions—to create classic works of contemporary anxiety.As disturbing and engrossing as a book by its subject, Carrère’s unconventional work interweaves life and art to reveal the maddening genius whose writing foresaw—from cloning to reality TV—a world that looks ever more like one of his inventions.

    Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by", metaphors that can shape our perceptions and actions without our ever noticing them.In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.

    The masterly essay on Tolstoy's view of history, in which Sir Isaiah underlines a fundamental distinction between those people (foxes) who are fascinated by the infinite variety of things and those (hedgehogs) who relate everything to a central, all-embracing system.

      In this classic study, Caillois defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from the rest of life. Play is uncertain, since the outcome may not be foreseen, and it is governed by rules that provide a level playing field for all participants. In its most basic form, play consists of finding a response to the opponent's action--or to the play situation--that is free within the limits set by the rules.   Caillois qualifies types of games-- according to whether competition, chance, simulation, or vertigo (being physically out of control) is dominant--and ways of playing, ranging from the unrestricted improvisation characteristic of children's play to the disciplined pursuit of solutions to gratuitously difficult puzzles. Caillois also examines the means by which games become part of daily life and ultimately contribute to various cultures their most characteristic customs and institutions.            Presented here in Meyer Barash's superb English translation, Man, Play and Games is a companion volume to Caillois's Man and the Sacred.