Encountering Buddhism in Twentieth-Century British and American Literature explores the ways in which 20th-century literature has been influenced by Buddhism, and has been, in turn, a major factor in bringing about Buddhism's increasing spread and influence in the West. Focussing on Britain and the United States, Buddhism's influence on a range of key literary texts will be examined in the context of those societies' evolving modernity. Writers discussed include T. S. Eliot, Hermann Hesse, Virginia Woolf, Jack Kerouac, Allen Ginsberg, J. D. Salinger, Iris Murdoch, Maxine Hong Kingston. This book brings together for the first time a series of context-rich interpretations that demonstrate the importance of literature in this ongoing cultural change in Britain and the United States.
In the 1930s, a young Samuel Beckett confessed to a friend that he had been living his life according to an ‘abject self-referring quietism’. Andy Wimbush argues that ‘quietism’—a philosophical and religious attitude of renunciation and will-lessness—is a key to understanding Beckett’s artistic vision and the development of his career as a fiction writer from his early novels Dream of Fair to Middling Women and Murphy to late short prose texts such as Stirrings Still and Company. Using Beckett’s published and archival material, Still: Samuel Beckett’s Quietism shows how Beckett distilled an understanding of quietism from the work of Arthur Schopenhauer, E.M. Cioran, Thomas à Kempis, Fyodor Dostoevsky, and André Gide, before turning it into an aesthetic that would liberate him from the powerful literary traditions of nineteenth-century realism and early twentieth-century high modernism. Quietism, argues Andy Wimbush, was for Beckett a lifelong preoccupation that shaped his perspectives on art, relationships, ethics, and even notions of salvation. But most of all it showed Beckett a way to renounce authorial power and write from a position of impotence, ignorance, and incoherence so as to produce a new kind of fiction that had, in Molloy’s words, the ‘tranquility of decomposition’.
ncreasingly Samuel Beckett's writing is seen as the culmination of the great literature of the twentieth century - succeeding the work of Proust, Joyce and Kafka. Beckett is a writer whose relevance to his time and use of poetic imagery can be compared to Shakespeare's in the late Renaissance. John Calder has examined the work of Beckett principally for what it has to say about our time in terms of philosophy, theology and ethics, and he points to aspects of his subject's thinking that others have ignored or preferred not to see. Samuel Beckett's acute mind pulled apart with courage and much humour the basic assumptions and beliefs by which most people live. His satire can be biting and his wit devastating. He found no escape from human tragedy in the comforts we build to shield ourselves from reality - even in art, which for most intellectuals has replaced religion. However, he did develop a moral message - one which is in direct contradiction to the values of ambition, success, acquisition and security which is normally held up for admiration, and he looks at the greed, God-worship, and cruelty to others which we increasingly take for granted, in a way that is both unconventional and revolutionary.If this study shocks many readers it is because the honesty, the integrity and the depth of Beckett's thinking - expressed through his novels, plays and poetry, but also through his other writings and correspondence - is itself shocking, to conventional thinking. Yet what he has to say is also comforting. He offers a different ethic and prescription for living - a message based on stoic courage, compassion and an ability to understand and forgive.
In this sound-bite history of the concept of nothing, distinguished journalist Konner, author of the bestselling "The Atheist's Bible," has created a unique anthology devoted to, well, nothing.
Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce’s "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett’s Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett’s later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer’s philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett’s writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalized fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both music and literature of the twentieth century and beyond, John McGrath’s book is a significant contribution to the field of Word and Music Studies.
The last few decades seem to have begun what has been called 'the childless revolution'. In developed countries, increasingly people are choosing not to have children. The causes of this 'revolution' are many including the belief that to create a new life is to subject someone unnecessarily, and without their consent, to life's many sufferings including death. This belief and its underlying philosophy is known as anti-natalism. There has been a recent resurgence of this philosophy, with David Benatar's book Better Never To Have Been (2006) as a major catalyst. Anti-natalism can be seen as part of a broader philosophy, described here as Rejectionism, which finds existence -directly or indirectly, i.e. as procreation - as deeply problematic and unacceptable. The book traces the development of this philosophy from its ancient religious roots in Hinduism (Moksha) and Buddhism (Nirvana) to its most modern articulation by the South African philosopher David Benatar. It examines the contribution to rejectionist thought by Schopenhauer and von Hartmann in the 19th century and Zapffe, a little known Norwegian thinker, in the 20th century, and most recently by Benatar. Benatar and Zapffe represent this approach most clearly as anti-natalism. The book also devotes a chapter to the literary expression of rejectionist philosophy in the works of Samuel Beckett and J.P.Sartre. In sum, far from being an esoteric doctrine rejectionism has been a major presence in human history straddling all three major cultural forms - religious, philosophical and literary. The book argues that anti-natal philosophy and its practice owe a great deal to three major developments: secularization, liberalization of social attitudes, and technological advances (contraception). Anti-natal attitudes and practice should therefore be seen as a part of 'progress' in that these developments are widening our choice of lifestyles and attitudes to existence. In sum, The book argues that anti-natalism needs to be taken seriously and considered as a legitimate view of a modern, secular civilization. Secondly, the book seeks to situate current anti-natalist thought in its historical and philosophical perspective. Finally, it argues that in order to develop anti-natalism further it needs to be institutionalized as a form rational 'philosophy of life', and more attention needs to be paid to the problems and prospect of putting this philosophy into practice.
This study uses Zen Buddhism and Chaos theory as binocular lenses to examine the existential difficulties in Samuel Beckett's plays in terms that circumvent traditional Western schools of thought. The book first outlines the salient points of Zen Buddhism and Chaos theory, examining the interplay of ideas between the two disciplines. The balance of the book uses Zen and Chaos theory to reveal new patterns and layers of meaning (or non meaning) in several of Beckett's most significant plays.
In many ways, Buddhism has become the global religion of the modern world. For its contemporary followers, the ideal of enlightenment promises inner peace and worldly harmony. And whereas other philosophies feel abstract and disembodied, Buddhism offers meditation as a means to realize this ideal. If we could all be as enlightened as Buddhists, some imagine, we could live in a much better world. For some time now, however, this beatific image of Buddhism has been under attack. Scholars and practitioners have criticized it as a Western fantasy that has nothing to do with the actual experiences of Buddhists. Avram Alpert combines personal experience and readings of modern novels to offer another way to understand modern Buddhism. He argues that it represents a rich resource not for attaining perfection but rather for finding meaning and purpose in a chaotic world. Finding unexpected affinities across world literature—Rudyard Kipling in colonial India, Yukio Mishima in postwar Japan, Bessie Head escaping apartheid South Africa—as well as in his own experiences living with Tibetan exiles, Alpert shows how these stories illuminate a world in which suffering is inevitable and total enlightenment is impossible. Yet they also give us access to partial enlightenments: powerful insights that become available when we come to terms with imperfection and stop looking for wholeness. A Partial Enlightenment reveals the moments of personal and social transformation that the inventions of modern Buddhism help make possible.
Provides a comprehensive exploration of Beckett's historical, cultural and philosophical contexts, offering new critical insights for scholars and general readers.