One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.
NOBEL PRIZE WINNER • Twenty-three political essays that focus on the victims of history, from the fallen maquis of the French Resistance to the casualties of the Cold War. In the speech he gave upon accepting the Nobel Prize for Literature in 1957, Albert Camus said that a writer "cannot serve today those who make history; he must serve those who are subject to it." Resistance, Rebellion and Death displays Camus' rigorous moral intelligence addressing issues that range from colonial warfare in Algeria to the social cancer of capital punishment. But this stirring book is above all a reflection on the problem of freedom, and, as such, belongs in the same tradition as the works that gave Camus his reputation as the conscience of our century: The Stranger, The Rebel, and The Myth of Sisyphus.
Few would question that Albert Camus (1913-1960), novelist, playwright, philosopher and journalist, is a major cultural icon. His widely quoted works have led to countless movie adaptions, graphic novels, pop songs, and even t-shirts. In this Very Short Introduction, Oliver Gloag chronicles the inspiring story of Camus' life. From a poor fatherless settler in French-Algeria to the winner of the Nobel Prize for Literature, Gloag offers a comprehensive view of Camus' major works and interventions, including his notion of the absurd and revolt, as well as his highly original concept of pure happiness through unity with nature called "bonheur". This original introduction also addresses debates on coloniality, which have arisen around Camus' work. Gloag presents Camus in all his complexity a staunch defender of many progressive causes, fiercely attached to his French-Algerian roots, a writer of enormous talent and social awareness plagued by self-doubt, and a crucially relevant author whose major works continue to significantly impact our views on contemporary issues and events. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
A Glance into Ilja Kostovski’s Selected Poetry It is a slightly smirking smile that accompanies the voice calling on Muses in Ilja Kostovski’s epic poetry and final book, Sisiphus and I. In this seminal production of the poet’s work, an eager, if slightly sarcastic, voice cries out from the woodpile of modernity: Don’t tarry You envious God This minute I will go Into the deep forests And will chop for you Firewood in piles. As for Kostovski’s readers, they are the “connoisseurs of sorrow,” the “suicide...leaning on the railings of bridges,” the “self-despisers,” for he is a poet of the lone wolves, the melancholy wanderer we read about in Blake and imagine among the happy crowds at Coney Island in the 1920s, or among the tripping multitudes of Haight Ashbury in the 1960s, or in the city where he made his last residence, the throngs of the upright and enraged of Washington, D.C. Kostovski’s verse is prayer to a God who is or is not there, a nearly desperate, repeating “Come unto me.” It is not merely exhortation to the deity. He invokes, too, the gathering crowds of the lost and broken-hearted, as though the divine could only be conjured by those numbers, or as if the dead God of Nietzsche could be resurrected by a hoard whose suffering is the very thing that binds them. In that case, instead of a savior, the hero of these poems is a common wound: “Come unto me those/Who have turned your roads/Into hazardous games.” The language is straight out of the book of Micah (whose own anaphoric language begins each chapter with “Hear”), an Old Testament prophet no one believes, but the language pops with contemporary hideousness: “Come, candidates for oval offices/ Come, candidates for electric chairs.” In what is perhaps the most powerful poem in the collection, “Sermon at the Washington Monument,” Kostovski the poet recalls his association with Ferlinghetti, who “Told me once/The Anglo-Saxons speak the truth/with half-closed mouths...” From a formal angle, the collection Sisyphus and I is Kostovski’s open-mouthed song to a universe that may or may not be listening. Like the fledgling with mouth turned upward, Kostovski’s poetry is both artistic hallelujah and hungry yawp, whose overarching tone is a kind of “gallows praise”: “I hear America is not singing anymore/All songs are dead/And you are the executioner.../Have you ever known Francois Villion/ Who multiplied his life on the gallows?” The poet calls on writers to awaken—rather like Micah, standing on his street corner—if not to save anything, then to attend it as it passes, flares out, at the height of its beauty. Kostovski, born in the Macedonian province of Greece, is the author of Dostoevsky and Goethe: Two Devils, Two Geniuses. Like his poetry, his scholarship sought out the insight of the outsider, as he himself carried the burden of his generation through exile during Communist overthrows, until he settled in Washington, D.C. The prophetic insight is this: a monument does not memorialize a country, but rather a misinterpreted ideal. The best remembrances are those that serve a human purpose. And the best invitation to the gods, in Kostovski’s reckoning at least, is to chop some firewood, good for burning. This is a poet whose voice at once harkens back to the Tanakh while it recalls the beatniks of San Francisco, the homeless, and the insidious white power structures and silent mausoleums of Washington D.C. We are reminded in these pages that life is to be sung open-mouthed, if at all. David Keplinger December, 2017
Jonathan Slovanco finds comfort and safety in his large family and in the Catholic Church. But as he matures, he realizes that a fundamental difference between him and other boys may alienate him from both his family and the Church. Coming to self-acceptance is difficult enough. Coupling that with the courage needed to reveal his genuine self to his family feels like a Sisyphean effort.
What is sport? Why does sport matter? How can we use philosophy to understand what sport means today? This engaging and highly original introduction to the philosophy of sport uses dialogue – a form of philosophical investigation – to address the fundamental questions in sport studies and to explore key contemporary issues such as fair play, gender, drug use, cheating, entertainment and identity. Providing a clear, informative and accessible introduction to the philosophy of sport, every chapter includes current sporting examples as well as review questions and guides to further reading. The dialogue form enables students to engage in debate and raise questions, while encouraging them to think from the perspectives of athlete, coach, spectator and philosopher. The issues raised present real and complex ethical dilemmas that relate to a variety of sports from around the world such as soccer, athletics, baseball, basketball, hockey and tennis. No other book brings this rich subject to life through the use of dialogue, making this an indispensable companion to any course on the philosophy or ethics of sport.
A passionate, thought-provoking exploration of walking as a political and cultural activity, from the author of Orwell's Roses Drawing together many histories--of anatomical evolution and city design, of treadmills and labyrinths, of walking clubs and sexual mores--Rebecca Solnit creates a fascinating portrait of the range of possibilities presented by walking. Arguing that the history of walking includes walking for pleasure as well as for political, aesthetic, and social meaning, Solnit focuses on the walkers whose everyday and extreme acts have shaped our culture, from philosophers to poets to mountaineers. She profiles some of the most significant walkers in history and fiction--from Wordsworth to Gary Snyder, from Jane Austen's Elizabeth Bennet to Andre Breton's Nadja--finding a profound relationship between walking and thinking and walking and culture. Solnit argues for the necessity of preserving the time and space in which to walk in our ever more car-dependent and accelerated world.
Designed as an introduction to classical mythology for middle and high-school students, presents retellings of favorite myths, sidebar summaries, and review exercises with the answers at the back of the book.
Startled by the unexpected diagnosis of a rare and often-terminal cancer, JoAnn A. Post chronicles the course of her treatment in Songs in My Head, a journal written both for her own sake, and for friends, family, and colleagues. Each of her twelve chemotherapy treatments is presented as a verse of the songs that hummed in her heart during and at the close of treatment. Inspiration and encouragement come through simple events like the return of a lost dog ("Chasing Maggie") and complicated events like allergic reactions to chemotherapy ("A False Summit"). The journal closes with an ancient Jewish ritual of thanksgiving, the Birkat HaGomel, which places the author's suffering in the context of the suffering and healing of God's people through the centuries. While writing from the perspective of faith, the author neither offers easy solutions, nor glosses over the difficult questions posed by illness and disability. During a difficult time she writes with hope, humor, and honesty. This journal is written for those living with cancer, and for those who love and care for them.
This volume draws together a series of thirteen essays on ancient epistemology by Gail Fine. She discusses knowledge, belief, subjectivity, and scepticism in Plato, Aristotle, and the Pyrrhonian sceptics. They consider such questions as: is episteme knowledge? Is doxa belief? Do the ancientshave the notion of subjectivity? Do any of them countenance external world scepticism? Several essays compare these philosophers with one another, as well as with more recent discussions of knowledge, belief, subjectivity, and scepticism, asking how if at all the ancient discussions of these topicsdiffer from more recent ones. In exploring these issues, the essays often make use of the distinction between concepts and conceptions, between an abstract account of something, and more determinate ways of filling it in. Together they compose a rich set of investigations, illuminating ancientperspectives on the central questions in epistemology.
