Long ago, in an unknown distant land, a book was written, a book that contained many secrets. That anyone, in any part of the globe, planet or galaxy can read, luring people into it's stories of other lives in other places. It can never be said when and where this book will end, it can take anyone into a whole world of possibilities, and one of them, is the key to the never ending story. Just remember, that Curiosity killed the Cat...
This is a prequel to Memoirs of an Unfinished Tale, a summary of what the followers of Jesus did after Jesus was no longer present. Luke steps out of the text once more to communicate directly with Theophilus his companion—and with us—as if we all are meeting Jesus for the first time. What was it that drew everyone to Jesus in the first place? Luke arranges a revised script that brings the characters to life as actors and then calls us into performance alongside them. In such an imaginative world, there is no predetermined outcome of the story. Instead we find ourselves in a “what-if” restaging of Jesus’ life and the responses of his followers. This is a fresh way of presenting the Bible, a method based on a rapidly growing movement in college and university classrooms called “reacting.” Nonetheless, it is in line with more traditional ways of understanding Scripture as performed in the context of liturgy. Within Memoirs of How It All Began, there are six different gaming applications intended to bring our generation into Luke’s world—or Luke into our world. At the same time, this book challenges the individual reader with creative poems and illustrations and a built-in system of interpretative questions for daily readings.
What were the conditions of possibility for art and music-making before the era of neoliberal capitalism? What role did punk play in turning artists to experiment with popular music in the late 1970s and early 1980s? And why does the art and music of these times seem so newly pertinent to our political present, despite the seeming remoteness of its historical moment? Focusing upon the production of post-punk art, film, music, and publishing, this book offers new perspectives on an overlooked period of cultural activity, and probes the lessons that might be learnt from history for artists and musicians working under 21st century conditions of austerity. Contemporary reflections by those who shaped avant-garde and contestatory culture in the UK, US, Brazil and Poland in the 1970s and 1980s. Alongside these are contributions by contemporary artists, curators and scholars that provide critical perspectives on post-punk then, and its generative relation to the aesthetics and politics of cultural production today.
Originally published in 1991, Gulliver and the Gentle Reader critically examines the writing of Jonathan Swift. The book is predominately concerned with what Rawson coins ‘the "unofficial" energies’ which work below the surface of Swift’s conscious themes. Alongside this discussion, Rawson provides detailed studies on historical, cultural and psychological relationships, and the connections that exist between these areas and more extreme writers of the later period such as Breton, Mailer, and Yeats, as well as the connections with the writers such as his contemporary Pope, and those that followed such as Johnson, and Sterne. This book will be of interest to students of literature, as well as those researching in the area of literature.
Self-reference, although a topic studied by some philosophers and known to a number of other disciplines, has received comparatively little explicit attention. For the most part the focus of studies of self-reference has been on its logical and linguistic aspects, with perhaps disproportionate emphasis placed on the reflexive paradoxes. The eight-volume Macmillan Encyclopedia of Philosophy, for example, does not contain a single entry in its index under "self-reference", and in connection with "reflexivity" mentions only "relations", "classes", and "sets". Yet, in this volume, the introductory essay identifies some 75 varieties and occurrences of self-reference in a wide range of disciplines, and the bibliography contains more than 1,200 citations to English language works about reflexivity. The contributed papers investigate a number of forms and applications of self-reference, and examine some of the challenges posed by its difficult temperament. The editors hope that readers of this volume will gain a richer sense of the sti11largely unexplored frontiers of reflexivity, and of the indispensability of reflexive concepts and methods to foundational inquiries in philosophy, logic, language, and into the freedom, personality and intelligence of persons.
This collection of heroin stories from Eric Bogosian, Jerry Stahl, Lydia Lunch, and more “will satisfy devotees of noir fiction and outsider art alike” (Publishers Weekly). On the heels of The Speed Chronicles (Sherman Alexie, William T. Vollmann, Megan Abbott, James Franco, Beth Lisick, etc.) and The Cocaine Chronicles (Lee Child, Laura Lippman, etc.) comes The Heroin Chronicles, a volume sure to frighten and delight. The literary styles of these stories are as diverse as the moral quandaries they explore. From the groundbreaking novels of William S. Burroughs to the mind-altering music of The Velvet Underground, heroin—in all its ecstasy and tragedy—has been the subject of many an underground masterpiece. Collected here are all-new short stories about the infamous drug by some of today’s most celebrated and provocative writers, including Eric Bogosian, Lydia Lunch, Jerry Stahl, Nathan Larson, Ava Stander, Antonia Crane, Gary Phillips, Jervey Tervalon, John Albert, Michael Albo, Sophia Langdon, Tony O’Neill, and L.Z. Hansen.
This text re-reads Western history in the light of nihilistic logic, which pervades two millennia of Western thought. From Parmenides to Alain Badiou, via Plotinus, Avicenna, Duns Scotus, Ockham, Descartes, Spinoza, Kant, Hegel, Heidegger, Sartre, Lacan, Deleuze and Derrida, a genealogy of nothingness can be witnessed in development, with devastating consequences for the way we live.
