He is a key figure in poststructuralism, and one of the most influential philosophers of the twentieth century. Felix Guattari (1930-1992) was a psychoanalyst at the la Borde Clinic, as well as being a major social theorist and radical activist. A Thousand Plateaus is part of Deleuze and Guattari's landmark philosophical project, Capitalism and Schizophrenia - a project that still sets the terms of contemporary philosophical debate. A Thousand Plateaus provides a compelling analysis of social phenomena and offers fresh alternatives for thinking about philosophy and culture. Its radical perspective provides a toolbox for nomadic thought and has had a galvanizing influence on today's anti-capitalist movement.Translated by Brian Massumi

    In lively and impassioned prose, she breaks down three key dualisms - sex/gender, nature/nurture, and real/constructed - and asserts that individuals born as mixtures of male and female exist as one of five natural human variants and, as such, should not be forced to compromise their differences to fit a flawed societal definition of normality.

    Beginning his epic study with Baudelaire, whose lurid poetry scandalized French stalwarts, Gay traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York. A work unique in its breadth and brilliance, Modernism presents a thrilling pageant of heretics that includes (among others) Oscar Wilde, Pablo Picasso, and D. W. Griffiths; James Joyce, Virginia Woolf, and T. S. Eliot; Walter Gropius, Arnold Schoenberg, and (of course!) Andy Warhol. Finally, Gay examines the hostility of totalitarian regimes to modernist freedom and the role of Pop Art in sounding the death knell of a movement that dominated Western culture for 120 years. Lavishly illustrated, Modernism is a superlative achievement by one of our greatest historians.

    His main target is the all-pervasive figure of the child, which he reads as the linchpin of our universal politics of “reproductive futurism.” Edelman argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. He boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order. In No Future, Edelman urges queers to abandon the stance of accommodation and accede to their status as figures for the force of a negativity that he links with irony, jouissance, and, ultimately, the death drive itself.Closely engaging with literary texts, Edelman makes a compelling case for imagining Scrooge without Tiny Tim and Silas Marner without little Eppie. Looking to Alfred Hitchcock’s films, he embraces two of the director’s most notorious creations: the sadistic Leonard of North by Northwest, who steps on the hand that holds the couple precariously above the abyss, and the terrifying title figures of The Birds, with their predilection for children. Edelman enlarges the reach of contemporary psychoanalytic theory as he brings it to bear not only on works of literature and film but also on such current political flashpoints as gay marriage and gay parenting. Throwing down the theoretical gauntlet, No Future reimagines queerness with a passion certain to spark an equally impassioned debate among its readers.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    A VINTAGE ORIGINAL.What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page - a graceful ear there, a stray curl, a hat positioned just so - and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved - or reviled - literary figures.In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature - he thinks of himself first, and foremost, as a reader - into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

    The reader contains a mix of short personal and theoretical essays as well as entries designed to challenge students to take action to end oppressive behavior and to affirm diversity and racial justice.(For the original version of chapter 48, please refer to: Herek, Gregory, "Heterosexism and Homophobia," in Textbook of Homosexuality and Mental Health, ed. Robert Cavaj and Terry S. Stein, 1996, American Psychiatric Press, pp. pp. 101-113.)

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    methodologically innovative... precise and perceptive and conscious... " --Text and Performance QuarterlyWoman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." --Chandra Talpade MohantyThe idea of Trinh T. Minh-ha is as powerful as her films... formidable... " --Village Voice... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." --ArtpaperHighly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." --Religious Studies Review

    Rethinking the usage guide for the twenty-first century, Pinker doesn’t carp about the decline of language or recycle pet peeves from the rulebooks of a century ago. Instead, he applies insights from the sciences of language and mind to the challenge of crafting clear, coherent, and stylish prose. In this short, cheerful, and eminently practical book, Pinker shows how writing depends on imagination, empathy, coherence, grammatical knowhow, and an ability to savor and reverse engineer the good prose of others. He replaces dogma about usage with reason and evidence, allowing writers and editors to apply the guidelines judiciously, rather than robotically, being mindful of what they are designed to accomplish. Filled with examples of great and gruesome prose, Pinker shows us how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right.

    This therapeutic theory is founded on the idea that people have many interacting narratives that go into making up their sense of who they are, and that the issues they bring to therapy are not restricted to (or sited within) the clients themselves, but rather are influenced and shaped by cultural discourses about identity and power.

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    Through the notion of trauma, she contends, we come to a new understanding that permits history to arise where immediate understanding is impossible. In her wide-ranging discussion, Caruth engages Freud's theory of trauma as outlined in Moses and Monotheism and Beyond the Pleasure Principle; the notion of reference and the figure of the falling body in de Man, Kleist, and Kant; the narratives of personal catastrophe in Hiroshima mon amour; and the traumatic address in Lecompte's reinterpretation of Freud's narrative of the dream of the burning child.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    In seven provocative essays, Zipes discusses the importance of investigating oral folk tales in their socio-political context and traces their evolution into literary fairy tales, a metamorphosis that often diminished the ideology of the original narrative. Zipes also looks at how folk tales influence our popular belie