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England during the Middle Ages was at the forefront of European antisemitism. It was in medieval Norwich that the notorious “blood libel” was first introduced when a resident accused the city's Jewish leaders of abducting and ritually murdering a local boy. This book rethinks the complex and contradictory relation between England's rejection of “the Jew” and the centrality of Jews to classic English literature. Drawing on literary, historical, and cartographic texts, the book charts an entangled Jewish imaginative presence in English culture. It tracks how English writers from Bede to John Milton imagine Jews via buildings—tombs, latrines and especially houses—that support fantasies of exile. Epitomizing this trope is the blood libel and its implication that Jews cannot be accommodated in England because of the anti-Christian violence they allegedly perform in their homes. In the Croxton Play of the Sacrament, Marlowe's The Jew of Malta, and Shakespeare's The Merchant of Venice, the Jewish house not only serves as a lethal trap but also as the site of an emerging bourgeoisie incompatible with Christian pieties. In the book's epilogue, the chapters advance the inquiry into Victorian England and the relationship between Charles Dickens (whose Fagin is the second most infamous Jew in English literature after Shylock) and the Jewish couple that purchased his London home, Tavistock House, showing how far relations between gentiles and Jews in England had (and had not) evolved.

The Renaissance jurist Alberico Gentili once quipped that, just like comedies, all wars end in a marriage. In medieval and early modern Europe, marriage treaties were a perennial feature of the diplomatic landscape. When one ruler decided to make peace with his enemy, the two parties often sealed their settlement with marriages between their respective families. This book traces the history of the practice, focusing on the unusually close relationship between diplomacy and literary production in Western Europe from antiquity through the seventeenth century, when marriage began to lose its effectiveness and prestige as a tool of diplomacy. The book begins with Virgil's foundational myth of the marriage between the Trojan hero Aeneas and the Latin princess, an account that formed the basis for numerous medieval and Renaissance celebrations of dynastic marriages by courtly poets and propagandists. It follows the slow decline of diplomatic marriage as both a tool of statecraft and a literary subject, exploring the skepticism and suspicion with which it was viewed in the works of Edmund Spenser and William Shakespeare. The book argues that the plays of Pierre Corneille and Jean Racine signal the passing of an international order that had once accorded women a place of unique dignity and respect.

A frequent complaint against contemporary American fiction is that too often it puts off readers in ways they find difficult to fathom. Books such as Bret Easton Ellis's American Psycho, Katherine Dunn's Geek Love, and Don DeLillo's Underworld seem determined to upset, disgust, or annoy their readers—or to disorient them by shunning traditional plot patterns and character development. This book calls such works “aggressive fiction.” Why would authors risk alienating their readers—and why should readers persevere? Looking beyond the theory-based justifications that critics often provide for such fiction, this book offers a common-sense guide for the average reader who wants to better understand and appreciate books that might otherwise seem difficult to enjoy. The book considers roughly forty works of recent American fiction, including books by William Burroughs, Kathy Acker, Chuck Palahniuk, and Cormac McCarthy. It gathers “attacks” on the reader into categories based on narrative structure and content. Writers of some aggressive fictions may wish to frustrate easy interpretation or criticism. Others may try to induce certain responses in readers. Extreme content deployed as a tactic for distancing and alienating can actually produce a contradictory effect: for readers who learn to relax and go with the flow, the result may well be exhilaration rather than revulsion.

This book offers a reading of Walter Benjamin's notoriously opaque work, Origin of the German Tragic Drama that systematically attends to its place in discussions of the Baroque in Benjamin's day. The book recovers Benjamin's relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years. To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. The book shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, it challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies.

Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music's illegibility rather than come to terms with its actual effects. This book revises our understanding of music's relationship to language in Renaissance England. It shows the degree to which discussions of music were ideologically and politically charged. Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare's plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter's Tale) and Milton's A Maske, the book challenges the consensus that music's affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare, more than any other early modern poet, exposed the fault lines in the debate about music's function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.

There has been a noticeable and surprising number of memoirs recently published by adult children whose fathers have led secret lives. Some of the fathers had second families; some had secret religious lives; others have been criminals, liars, or con men. This book explores the phenomenon in great depth. It examines a large number of these works, placing them in a wide literary and cultural context and considering the ethical quandaries writers face when they reveal secrets so long and closely held. Among the books the book treats are Paul Auster's The Invention of Solitude, Alison Bechdel's graphic memoir Fun Home, Essie Mae Washington-Williams's Dear Senator (on her father, Strom Thurmond), Bliss Broyard's One Drop, Mary Gordon's The Shadow Man, and Geoffrey Wolff's The Duke of Deception. The book also discusses Nathaniel Kahn's documentary film, My Architect. These narratives inevitably look inward to the writer as well as outward to the parent. The autobiographical children are compelled, if not consumed, by a desire to know. They become detectives, piecing together clues to fill memory voids, assembling material and archival evidence, public and private documents, letters, photographs, and iconic physical objects to track down the parent.

This book offers a radical reassessment of the modern European literary canon. The book's reinterpretations of Goethe, Schiller, Büchner, Döblin, Musil, and Kafka show how literary and scientific narratives have determined each other over the past three centuries, and it argues that modern literature not only contributed to the development of the human sciences but also established itself as the privileged medium for a modern style of case-based reasoning. The book traces the role of narrative fiction in relation to the scientific knowledge of the individual from eighteenth-century psychology and pedagogy to nineteenth-century sexology and criminology to twentieth-century psychoanalysis. The book demonstrates how modern authors consciously engaged casuistic forms of writing to arrive at new understandings of literary discourse that correspond to major historical transformations in the function of fiction. It argues for the centrality of literature to changes in the conceptions of psychological knowledge production around 1800; legal responsibility and institutionalized forms of decision-making throughout the nineteenth century; and literature's own realist demands in the early twentieth century.

This book explores connections between the practices of reading and magic during the realist and modernist periods in German literature and thought, with a particular focus on divination. Divination, historically long associated with the reading of literature, engages an issue of critical importance to this cultural moment, that of futurity: both the different ways that the future figured in the reading of texts at this time, and the evident (or apparently evident) fading of its force as a narrative determinant or article of historical faith. In case studies of works by Gottfried Keller, Theodor Fontane, and Walter Benjamin, this study investigates divinatory readings not just of texts but of the world, its things, their forces, and their relations to the human. It approaches both the texts and the world that supports such readings against the background of the notion of “sympathy” that, in both ancient and pre-modern times, allowed for future reading and that, it argues, persists in the realist and modernist periods in the form of “Stimmung.” And it traces the significant transformations of “sympathy” and “Stimmung” that accompany the changing shape of reading, magic, and the future in German art and thought during this period.

In 2010 the U.S. Embassy in Kabul acknowledged that it was providing major funding for thirteen episodes of Eagle Four—a new Afghani television melodrama based loosely on the blockbuster U.S. series 24. Eagle Four was part of a strategy aimed at transforming public suspicion of security forces into respect. Why would a wartime government spend resources on a melodrama of covert operations? The answer is not simply that fiction has real political effects but that, since the Cold War, fiction has become integral to the growth of national security as a concept and a transformation of democracy. This book links this cultural shift to the birth of the national security state in 1947. As the United States developed a vast infrastructure of clandestine organizations, it shielded policy from the public sphere and gave rise to a new cultural imaginary, “the covert sphere.” One of the surprising consequences of state secrecy is that citizens must rely substantially on fiction to “know,” or imagine, their nation's foreign policy. The potent combination of institutional secrecy and public fascination with the secret work of the state was instrumental in fostering the culture of suspicion and uncertainty that has plagued American society ever since—and, the book argues, that would eventually find its fullest expression in postmodernism. The book traces these consequences from the Korean War through the War on Terror, examining how a regime of psychological operations and covert action has made the conflation of reality and fiction a central feature of both U.S. foreign policy and American culture.

What constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? This book provides answers and offers insights on the ontological granularity of the archive and its relationship with architecture as a complex enterprise that starts and ends much beyond the act of building or the life of a creator. In this book we learn how objects are processed and catalogued, how a classification scheme is produced, how models and drawings are preserved, and how born-digital material battles time and technology obsolescence. We follow the work of conservators, librarians, cataloguers, digital archivists, museum technicians, curators, and architects, and we capture archiving in its mundane and practical course. Based on ethnographic observation at the Canadian Centre for Architecture and interviews with a range of practitioners, including Álvaro Siza and Peter Eisenman, the book traces archiving through the daily work and care of all its participants, scrutinizing their variable ontology, scale, and politics. It addresses the strategies practicing architects employ to envisage an archive-based future and tells a story about how architectural collections are crafted so as to form the epistemological basis of architectural history.

“For the master's tools,” the poet Audre Lorde wrote, “will never dismantle the master's house.” This book is a study of literary, political, and philosophical critiques of the utopian claims about technology in the Long Seventies, the decade and a half before 1980. Following Alice Hilton's 1963 admonition that the coming years would bring humanity to a crossroads, the book explores wide-ranging ideas from science fiction, avant-garde literatures, feminist and anti-racist activism, and indigenous eco-philosophy that may yet challenge machines of war, control, and oppression. It opposes the language of technological idealism with radical thought of the Long Seventies. This counter-lexicon retrieves seven terms for the contemporary critique of technology: Luddism, a verbal and material combat against exploitative machines; communion, a kind of togetherness that stands apart from communication networks; cyberculture, a historical conjunction of automation with racist and militarist machines; distortion, a transformative mode of reading and writing; revolutionary suicide, a willful submission to the risk of political engagement; liberation technology, a synthesis of appropriate technology and liberation theology; and thanatopography, a mapping of planetary technological ethics after Auschwitz and Hiroshima. The book restores revolutionary language of the radical Long Seventies for reuse in the digital present against emergent technologies of exploitation, subjugation, and death.

This book offers a reading of John Milton's major writings, finding in them a fundamental impasse that explains their creative power. According to the book, a divided view of creation governs Milton's related systems of cosmology, theology, art, and history. For Milton, any coherent entity—a nation, a poem, or even the new world—must be carved out of and guarded against an original unruliness. Despite being sanctioned by God, however, this agonistic mode of creation proves ineffective because it continues to manifest internal rifts that it can never fully overcome. This dilemma is especially pronounced in Milton's later writings, including Paradise Lost, where all forms of creativity must strive against the fact that chaos precedes order and that disruptive forces will continue to reemerge, seemingly without end. The book explores the many ways in which Milton transforms an intractable problem into the grounds for incisive commentary and politically charged artistry. This argument brings into focus topics ranging from Milton's recurring allusions to the Eastern Tartars, the way Milton engages with country house poetry and colonialist discourses in Paradise Lost, and the lasting relevance of Anglo-Irish affairs for his late writings. The book concludes with a new reading of Paradise Regained and Samson Agonistes in which it shows how Milton's integration of conflicting elements forms the heart of his literary archive and confers urgency upon his message even as it reaches its future readers.

The relationship between power and language has been a central theme in critical theory for decades now, yet there is still much to be learned about the sheer force of language in the world in which we live. This book explores the power-language phenomenon in the context of European and, particularly, French colonialism and its aftermath. Through readings of the colonial experience, it isolates a phraseology based on possession, in terms of both appropriation and haunting, that has persisted throughout the centuries. Not only is this phraseology a legacy of the past, it is still active today, especially in literary renderings of the colonial experience—but also, and more paradoxically, in anticolonial discourse. This phrase shaped the teaching of European languages in the (former) empires, and it tried to configure the usage of those idioms by the “Indigenes.” Then, scholarly disciplines have to completely reconsider their discursive strategies about the colonial, if, at least, they attempt to speak up. The book examines diverse texts, from political speeches, legal documents, and colonial treatises to anthropological essays, poems of the Négritude, and contemporary rap, ever attuned to the linguistic strategies that undergird colonial power. Equally conversant in both postcolonial criticism and poststructuralist scholarship on language, but also deeply grounded in the sociohistorical context of the colonies, the book sets forth the conditions for an authentically postcolonial scholarship, one that acknowledges the difficulty of getting beyond a colonialism—and still maintains the need for an afterward.

This book recovers the historical specificity and the conceptual vigor of the term “satisfaction” during the sixteenth and early seventeenth centuries. Focusing on the term's significance as an organizing principle of Christian repentance, the book examines the ways in which Shakespeare and his contemporaries dramatized the consequences of its re- or de-valuation in the process of Reformation doctrinal change. The Protestant theology of repentance, the book suggests, underwrote a variety of theatrical plots “to set things right” in a world shorn of the prospect of “making enough” (satisfacere). The book traces today's use of “satisfaction”-as an unexamined measure of inward gratification rather than a finely nuanced standard of relational exchange-to the pressures on legal, economic, and marital discourses wrought by the Protestant rejection of the Catholic sacrament of penance (contrition, confession, satisfaction) and represented imaginatively on the stage. In so doing, it offers fresh readings of the penitential economies of canonical plays including Dr. Faustus, The Revenger's Tragedy, The Merchant of Venice, and Othello; considers the doctrinal and generic importance of lesser-known plays including Enough Is as Good as a Feast and Love's Pilgrimage; and opens new avenues into the study of literature and repentance in early modern England.

“Lollard” is the name given to followers of John Wyclif, the English dissident theologian who was dismissed from Oxford University in 1381 for his arguments regarding the eucharist. A forceful and influential critic of the ecclesiastical status quo in the late fourteenth century, Wyclif’s thought was condemned at the Council of Constance in 1415. While lollardy has attracted much attention in recent years, much of what we think we know about this English religious movement is based on records of heresy trials and anti-lollard chroniclers. This book demonstrates that this approach has limitations. A better basis is the five hundred or so manuscript books from the period (1375–1530) containing materials translated, composed, or adapted by lollard writers themselves. These writings provide rich evidence for how lollard writers collaborated with one another and with their readers to produce a distinctive religious identity based around structures of feeling. Lollards wanted to feel like saints. From Wyclif they drew an extraordinarily rigorous ethic of mutual responsibility that disregarded both social status and personal risk. They recalled their commitment to this ethic by reading narratives of physical suffering and vindication, metaphorically martyring themselves by inviting scorn for their zeal, and enclosing themselves in the virtues rather than the religious cloister. Yet in many ways they were not that different from their contemporaries, especially those with similar impulses to exceptional holiness.

Over the past fifty years, debates about human rights have assumed an increasingly prominent place in postcolonial literature and theory. Writers from Salman Rushdie to Nawal El Saadawi have used the novel to explore both the possibilities and challenges of enacting and protecting human rights, particularly in the Global South. This book shows how human dignity and bodily integrity contribute to an anxiety about the body that helps to explain many of the contemporary and historical failures of human rights, revealing why and how lives are excluded from human rights protections along the lines of race, gender, class, disability, and species membership. The book suggests how an embodied politics of reading might restore a vital fleshiness to the overly abstract, decorporealized subject of liberal rights. Each novel examined approaches human rights in terms of limits and paradoxes. Rushdie's Midnight's Children addresses the obstacles to incorporating rights into a formerly colonized nation's legal culture. El Saadawi's Woman at Point Zero takes up controversies over women's freedoms in Islamic society. In Disgrace, J. M. Coetzee considers the disappointments of post-apartheid reconciliation in South Africa. And in The God of Small Things, Arundhati Roy confronts an array of human rights abuses widespread in contemporary India. Each of these literary case studies further demonstrates the relevance of embodiment to both comprehending and redressing the failures of human rights, even while those narratives refuse simplistic ideals or solutions.

This book reexamines Theodor Adorno's Aesthetic Theory along with his other writings on aesthetics in light of the unexpected return of the aesthetic to today's cultural debates. Is Adorno's aesthetic theory still relevant today? This question is answered with an emphatic yes. As the book shows, a careful reading of the work exposes different questions and arguments today than it did in the past. Over the years Adorno's concern over the fate of art in a late capitalist society has met with everything from suspicion to indifference. In part this could be explained by relative unfamiliarity with the German dialectical tradition in North America. Today's debate is better informed, more multifaceted, and further removed from the immediate aftermath of the Cold War and of the shadow of postmodernism. Adorno's insistence on the radical autonomy of art has much to offer contemporary discussions of art and the aesthetic in search of new responses to the pervasive effects of a neoliberal art market and culture industry. The book shows how radically transformative Adorno's ideas have been and how thoroughly they have shaped current discussions in aesthetics. Among the topics considered are the role of art in modernism and postmodernism, the truth claims of artworks, the function of the ugly in modern artworks, the precarious value of the literary tradition, and the surprising significance of realism for Adorno.

The Bildungsroman, or “novel of formation,” has long led a paradoxical life within literary studies, having been construed both as a peculiarly German genre, a marker of that country's cultural difference from Western Europe, and as a universal expression of modernity. This book argues that the dual status of the Bildungsroman renders this novelistic form an elegant way to negotiate the diverging critical discourses surrounding national and world literature. Since the late eighteenth century, authors have employed the story of a protagonist's journey into maturity as a powerful tool with which to facilitate the creation of national communities among their readers. Such attempts always stumble over what the book calls “cosmopolitan remainders,” identity claims that resist nationalism's aim for closure in the normative regime of the nation-state. These cosmopolitan remainders are responsible for the curiously hesitant endings of so many novels of formation. The book presents readings of a number of novels—Goethe's Wilhelm Meister's Apprenticeship, Karl Leberecht Immermann's The Epigones, Gustav Freytag's Debit and Credit, Alfred Döblin's Berlin Alexanderplatz, and Thomas Mann's Doctor Faustus among them—that have always been felt to be particularly “German” and compares them with novels by such authors as George Eliot and James Joyce to show that what seem to be markers of national particularity can productively be read as topics of world literature.

This book argues that the neglect of aesthetics in most contemporary theories of biopolitics has resulted in an overly restricted conception of life. The book insists we need a more flexible notion of life: one attuned to the interplay and conflict between its many dimensions and forms. The book develops such a notion through the meticulous study of works by Kant, Goethe, Kleist, Nietzsche, Wittgenstein, Benn, Musil, and others. It shows that the modern conception of “life” as a generative, organizing force internal to living beings emerged in the last decades of the eighteenth century in biological thought. At the core of this vitalist strand of thought, the book maintains, lies a persistent emphasis on the dynamics of formation and deformation, and thus on an intrinsically aesthetic dimension of life. The book brings this older discourse into critical conversation with contemporary discussions of biopolitics and vitalism, while also developing a rich conception of life that highlights, rather than suppresses, its protean character. It demonstrates that life unfolds in the open-ended interweaving of the myriad forms and modalities of biological, ethical, political, psychical, aesthetic, and biographical systems.

This second book in a three-volume work on the young Fyodor Dostoevsky is a diary-portrait of his early years drawn from letters, memoirs, and criticism of the writer, as well as from the testimony and witness of family and friends, readers and reviewers, and observers and participants in his life. The result of an exhaustive search of published materials on Dostoevsky, this volume sheds crucial light on the many unexplored corners of Dostoevsky's life in the time between the success of his first novel, Poor Folk, and the failure of his next four works. The book lets the original writers speak for themselves — the good and the bad, the truth and the lies — and includes extensive notes with correctives, counterarguments, and other pertinent information. It looks closely at Dostoevsky's increasingly tense ties with Vissarion Belinsky, Nikolai Nekrasov, Ivan Turgenev, and other figures of the Russian literary world. It then turns to the individuals who afforded Dostoevsky security and peace amid the often-negative reception from fellow writers and readers of his early fiction. Finally, the book shows us Dostoevsky's break with the Belinsky circle; his struggle to stay afloat emotionally and financially; and his determination to succeed as a writer while staying true to his vision, most notably, his insights into human psychology that would become a hallmark of his later fiction.