Search results for ""author sharon cameron""

Thinking in Henry James identifies what is genuinely strange and radical about James's concept of consciousness—first, the idea that it may not always be situated within this or that person but rather exists outside or "between," in some transpersonal place; and second, the idea that consciousness may have power over things and people outside the person who thinks. Examining these and other counterintuitive representations of consciousness, Cameron asks, "How do we make sense of these conceptions of thinking?"

Read more less

Philosophers have long debated the subjects of person and personhood. Sharon Cameron ushers this debate into the literary realm by considering impersonality in the works of major American writers and figures of international modernism—writers for whom personal identity is inconsequential and even imaginary. In essays on William Empson, Jonathan Edwards, Ralph Waldo Emerson, Herman Melville, T. S. Eliot, and Simone Weil, Cameron examines the impulse to hollow out the core of human distinctiveness, to construct a voice that is no one’s voice, to fashion a character without meaningful attributes, a being that is virtually anonymous. “To consent to being anonymous,” Weil wrote, “is to bear witness to the truth. But how is this compatible with social life and its labels?” Throughout these essays Cameron examines the friction, even violence, set in motion from such incompatibility—from a “truth” that has no social foundation. Impersonality investigates the uncompromising nature of writing that suspends, eclipses, and even destroys the person as a social, political, or individual entity, of writing that engages with personal identity at the moment when its usual markers vanish or dissolve.

Read more less

DEATH PENALTY FOR ALL WHO GIVE AID TO A JEW.DEATH TO ALL WHO HARBOUR A JEW.DEATH TO ALL WHO FEED A JEW.DEATH TO ALL WHO PROVIDE TRANSPORTATION TO A JEW.One knock at the door could be the death of them all…It is 1943, and sixteen-year-old Stefania Podgórska has been working for the Diamant family in their grocery store in Przemsyl, Poland, for four years. She has even made a promise to one of their sons, Izio - an engagement they must keep secret since she is Catholic and the Diamants are Jewish.But everything changes when the German army invades Przemsyl. The Diamants are forced into the ghetto, and Stefania is alone in an occupied city, the only one left to care for her six-year-old sister. And then comes the knock at the door. Max Diamant has jumped from the train headed to a death camp. Stefania and Helena make the extraordinary decision to hide Max, and eventually twelve more Jews. Then they must wait, every day, for the next knock at the door, the one that could destroy everything...A powerful novel from a New York Times Bestselling author, based on the remarkable true story of Stefania Podgórska, a Polish teenager who hid 13 Jews in her attic during World War Two.

Read more less

In 1946, Eva leaves behind the rubble of Berlin for the streets of New York City, stepping from the fiery aftermath of one war into another, far colder one, where power is more important than principles, and lies are more plentiful than the truth. Eva holds the key to a deadly secret: Project Bluebird — a horrific experiment of the concentration camps, capable of tipping the balance of world power. Both the Americans and the Soviets want Bluebird, and it is something that neither should ever be allowed to possess. But Eva hasn't come to America for secrets or power. She hasn't even come for a new life. She has come to America for one thing: justice. And the Nazi that has escaped its net. Critically acclaimed author of The Light in Hidden Places Sharon Cameron weaves a taut and affecting thriller ripe with intrigue and romance in this alternately chilling and poignant portrait of the personal betrayals, terrifying injustices, and deadly secrets that seethe beneath the surface in the aftermath of World War II.

Read more less

In French filmmaker Robert Bresson's cinematography, the linkage of fragmented, dissimilar images challenges our assumption that we know either what things are in themselves or the infinite ways in which they are entangled. The "bond" of Cameron's title refers to the astonishing connections found both within Bresson's films and across literary works by Tolstoy, Dostoevsky, and Kafka, whose visionary rethinkings of experience are akin to Bresson's in their resistance to all forms of abstraction and classification that segregate aspects of reality. Whether exploring Bresson's efforts to reassess the limits of human reason and will, Dostoevsky's subversions of Christian conventions, Tolstoy's incompatible beliefs about death, or Kafka's focus on creatures neither human nor animal, Cameron illuminates how the repeated juxtaposition of disparate, even antithetical, phenomena carves out new approaches to defining the essence of being, one where the very nature of fixed categories is brought into question. An innovative look at a classic French auteur and three giants of European literature, The Bond of the Furthest Apart will interest scholars of literature, film, ethics, aesthetics, and anyone drawn to an experimental venture in critical thought.

Read more less

Although Emily Dickinson copied and bound her poems into manuscript notebooks, in the century since her death her poems have been read as single lyrics with little or no regard for the context she created for them in her fascicles. Choosing Not Choosing is the first book-length consideration of the poems in their manuscript context. Sharon Cameron demonstrates that to read the poems with attention to their placement in the fascicles is to observe scenes and subjects unfolding between and among poems rather than to think of them as isolated riddles, enigmatic in both syntax and reference. Thus Choosing Not Choosing illustrates that the contextual sense of Dickinson is not the canonical sense of Dickinson. Considering the poems in the context of the fascicles, Cameron argues that an essential refusal of choice pervades all aspects of Dickinson's poetry. Because Dickinson never chose whether she wanted her poems read as single lyrics or in sequence (nor is it clear where any fascicle text ends, or even how, in context, a poem is bounded), "not choosing" is a textual issue; it is also a formal issue because Dickinson refused to chose among poetic variants; it is a thematic issue; and, finally, it is a philosophical one, since what is produced by "not choosing" is a radical indifference to difference. Extending the readings of Dickinson offered in her earlier book Lyric Time, Cameron continues to enlarge our understanding of the work of this singular American poet.

Read more less

At his death, Henry Thoreau left the majority of his writing unpublished. The bulk of this material is a journal that he kept for twenty-four years. Sharon Cameron's major claim is that this private work (the Journal) was Thoreau's primary work, taking precedence over the books that he published in his lifetime. Her controversial thesis views Thoreau's Journal as a composition that confounds the distinction between public and private—the basis on which our conventional treatment of discourse depends.

Read more less

Isa de Smit was raised in the vibrant, glittering world of her parents' small art gallery in Amsterdam, a hub of beauty, creativity, and expression until the Nazi occupation wiped the colour from her city's palette. The degenerate art of the Gallery de Smit is confiscated, and the artists are in hiding or deported, her best friend, Truus, fled to join the shadowy Dutch resistance. And masterpiece by masterpiece, the Nazis are buying and stealing her country's heritage, feeding the Third Reich's ravenous appetite for culture and art. So when the unpaid taxes threaten her beloved but empty gallery, Isa decides to make the Nazis pay. She sells them a fake--a Rembrandt copy drawn by her talented father--a sale that sets Isa perilously close to the second most hated class of people in Amsterdam: the collaborators. Isa sells her beautiful forgery to none other than Hitler himself, and on the way to the auction, discovers that Truus is part of a resistance ring to smuggle Jewish babies out of Amsterdam. But Truus cannot save more children without money. A lot of money. And Isa thinks she knows how to get it. One more forgery, a copy of an exquisite Vermeer, and the Nazis will pay for the rescue of the very children they are trying to annihilate. To make the sale, though, Isa will need to learn the art of a master forger, before the children can be deported, and before she can be outed as a collaborator. And she finds an unlikely source to help her do it: the young Nazi soldier, a blackmailer and thief of Dutch art, who now says he wants to desert the German army. Yet, worth is not always seen from the surface, and a fake can be difficult to spot. Both in art and in people. Based on the true stories of Han Van Meegeren, a master art forger who sold fakes to Hermann Goering, and Johann van Hulst, credited with saving 600 Jewish children from death in Amsterdam, Sharon Cameron weaves a gorgeously evocative thriller, simmering with twists, that looks for the forgotten colour of beauty, even in an ugly world. War, resistance, and art are Cameron's canvas; her palette is a balance of trust and perfidy, beauty and defiance, new life and old. Artifice is a vibrantly-hued and many-layered story, exploring our very human inability to spot a fake when we long to believe that the object of all our desire is the real thing. -- Elizabeth Wein, New York Times best-selling author of Code Name Verity. Painterly prose ... filled with rich intrigue depicts constantly shifting issues of trust in this complex, absorbing tale. -- Publishers Weekly, starred review.

Read more less