Renée, the concierge, is witness to the lavish but vacuous lives of her numerous employers. Outwardly she conforms to every stereotype of the concierge: fat, cantankerous, addicted to television. Yet, unbeknownst to her employers, Renée is a cultured autodidact who adores art, philosophy, music, and Japanese culture. With humor and intelligence she scrutinizes the lives of the building's tenants, who for their part are barely aware of her existence. Then there's Paloma, a twelve-year-old genius. She is the daughter of a tedious parliamentarian, a talented and startlingly lucid child who has decided to end her life on the sixteenth of June, her thirteenth birthday. Until then she will continue behaving as everyone expects her to behave: a mediocre pre-teen high on adolescent subculture, a good but not an outstanding student, an obedient if obstinate daughter. Paloma and Renée hide both their true talents and their finest qualities from a world they suspect cannot or will not appreciate them. They discover their kindred souls when a wealthy Japanese man named Ozu arrives in the building. Only he is able to gain Paloma's trust and to see through Renée's timeworn disguise to the secret that haunts her. This is a moving, funny, triumphant novel that exalts the quiet victories of the inconspicuous among us.

    Anne’s College, Oxford. Her lectures took the shape of this set of discursive stories. Refusing to be tied down to either fiction or the essay form, Artful is narrated by a character who is haunted—literally—by a former lover, the writer of a series of lectures about art and literature.A hypnotic dialogue unfolds, a duet between and a meditation on art and storytelling, a book about love, grief, memory, and revitalization. Smith’s heady powers as a fiction writer harmonize with her keen perceptions as a reader and critic to form a living thing that reminds us that life and art are never separate.Artful is a book about the things art can do, the things art is full of, and the quicksilver nature of all artfulness. It glances off artists and writers from Michelangelo through Dickens, then all the way past postmodernity, exploring every form, from ancient cave painting to 1960s cinema musicals. This kaleidoscope opens up new, inventive, elastic insights—on the relation of aesthetic form to the human mind, the ways we build our minds from stories, the bridges art builds between us. Artful is a celebration of literature’s worth in and to the world and a meaningful contribution to that worth in itself. There has never been a book quite like it.

    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.

    It traces the development of one individual consciousness, "playing over such issues as motherhood, racism, history, poetry, the uses of scholarship, the politics of language". A. Rich has written a headnote for each essay, briefly discussing the circumstances of its writing. "I find in myself both severe and tender thoughts toward the women I have been, whose thoughts I find here".

    To clear my way, I must be allowed to ask some plain questions, and the answers will probably appear as unequivocal as the axioms on which reasoning is built; though, when entangled with various motives of action, they are formally contradicted, either by the words or conduct of men.In what does man's pre-eminence over the brute creation consist?The answer is as clear as that a half is less than the whole; inReason.

    However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, but also one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

    Feminism, Interrupted is a bold call to seize feminism back from the cultural gatekeepers and return it to its radical roots. Lola Olufemi explores state violence against women, the fight for reproductive justice, transmisogyny, gendered Islamophobia and solidarity with global struggles, showing that the fight for gendered liberation can change the world for everybody when we refuse to think of it solely as women's work. Including testimonials from Sisters Uncut, migrant groups working for reproductive justice, prison abolitionists and activists involved in the international fight for Kurdish and Palestinian rights, Olufemi emphasises the link between feminism and grassroots organising. Reclaiming feminism from the clutches of the consumerist, neoliberal model, Feminism, Interrupted shows that when 'feminist' is more than a label, it holds the potential for radical transformative work.

    He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power.The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power.The Field of Cultural Production will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies.

    Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today.

    Blurring the lines between fact and fiction, an unnamed narrator attempts to plot the emotional and physical course of her two-year relationship with a married foreigner where every word, event, and person either provides a connection with her beloved, or is subject to her cold indifference. With courage and exactitude, she seeks the truth behind an existence lived entirely for someone else, and, in the pieces of its aftermath, she is able to find it.

    In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    The core of his argument in this essay (and in those that follow) lies in the old opposition between theoria and aesthesis - terms that embody, on the one hand, a linguistic, specifically rhetorical approach to literature and, on the other, a phenomenological, aesthetic, or hermeneutic approach - and all the implications those two modes carry with them. The resistance to theory, says de Man, is a resistance to the use of language about language; it is a resistance to reading, and a resistance to the rhetorical or figurative dimensions of language. The six related essays in The Resistance to Theory were written by de Man in the few years that preceded his death in December 1983. Undertaken to find out why the theoretical enterprise is blind to, or "resists," the radical nature of reading, the essays share not only a theme but also the pedagogical intent that is central to most of his work. These concerns, implicit in the title essay, are openly argued in "The Return to Philology." Each of the remaining essays is devoted to a specific theorist: Michael Riffaterre, Hans Robert Jauss, Walter Benjamin, and Mikhail Bakhtin. The Resistance to Theory also includes a 1983 interview with de Man conducted for Italian radio, and a complete bibliography of his work. Wlad Godzich's foreword tells how de Man's late work was conceived and organized for publication, and discusses some of the basic terms in his discourse."Indispensable. . . . There is resistance to 'theory' and also confusion about its status with reference to both philosophy and criticism. De Man's defense of theory is subtle but uncompromising, and highly personal in its 'aporetic' conclusion."- Frank Kermode, Columbia UniversityPaul de Man was Sterling Professor of Comparative Literature at Yale University. His books include Blindness and Insight (1971; revised edition, Minnesota, 1983), Allegories of Reading ( 1980), and The Rhetoric of Romanticism (1984).

    While driving home exhausted, the boys are involved in a fatal car accident on a deserted road. Two of the boys are wearing seat belts; one goes through the windshield. The doctors declare him brain-dead shortly after arriving at the hospital, but his heart is still beating.The Heart takes place over the twenty-four hours surrounding the resulting heart transplant, as life is taken from a young man and given to a woman close to death. In gorgeous, ruminative prose, it examines the deepest feelings of everyone involved as they navigate decisions of life and death.As stylistically audacious as it is emotionally explosive, The Heart mesmerized readers in France, where it has been hailed as the breakthrough work of a new literary star. With the precision of a surgeon and the language of a poet, de Kerangal has made a major contribution to both medicine and literature with an epic tale of grief, hope, and survival.

    In my case, blinking my left eyelid is my only means of communication.’In December 1995, Jean-Dominique Bauby, editor-in-chief of French ‘Elle’ and the father of two young children, suffered a massive stroke and found himself paralysed and speechless, but entirely conscious, trapped by what doctors call ‘locked-in syndrome’. Using his only functioning muscle – his left eyelid – he began dictating this remarkable story, painstakingly spelling it out letter by letter.His book offers a haunting, harrowing look inside the cruel prison of locked-in syndrome, but it is also a triumph of the human spirit.

    This selection of his writings on religion, ethics, politics, women and many other themes is taken from Schopenhauer's last work, Parerga and Paralipomena, which he published in 1851. He depicts humanity as locked in a struggle beyond good and evil, each individual absolutely free within a Godless world in which art, morality and self-awareness are our only salvation. This innovative and pessimistic view proved powerfully influential upon philosophy and art, affecting the work of Nietzsche and Wittgenstein among others.