Search results for ""author charlotte mandell""

'Startlingly audacious.' Literary Review New writing from the literary master Throughout Proust’s life, nine of his short stories remained unseen – the writer never even spoke of them. Perhaps he was not ready to share the early themes he was nurturing for his masterpiece, In Search of Lost Time. Or perhaps, in dealing directly with gay desire, they were too audacious – too near to life – for the censorious society of the time. In these stories, published in English for the first time, we find an intimate portrait of a young author full of darkness, complexity and melancholy, longing to reveal himself to the world.

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Intellectuals of Jewish origin have long been well represented in the social sciences, although very few of the most prominent among them have devoted any of their work to the fact of being Jewish itself. At the same time, the founding role of Jewish theoreticians has been thought to derive from their dual position as both outsiders faced with the possibility of anti-Semitism and insiders assimilated into behaving according to the norms of a dominant "code of civility." In Geography of Hope, Pierre Birnbaum studies the trajectories of eight celebrated Jewish thinkers of the past two centuries (Marx, Durkheim, Simmel, Aron, Arendt, Berlin, Walzer, and Yerushalmi) who emerged from milieus acculturated to greatly varying degrees. The result is a renewed historiography of the Diaspora traversed by the tensions between adherence to Enlightenment universalism and a return to individual origins. Birnbaum's analysis of writings often neglected by previous scholarship, such as private correspondence, testifies to the multiplicity of possible responses to this challenge of double allegiance—from the more republican turn of the French to those Americans touched by the culture of identity. This vast and encompassing work is a stimulating, provocative, and hopeful contribution to the study of Judaism and democracy.

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During the last half of the twentieth century in France, Maurice Blanchot was a key figure in exploring the relation between literature and philosophy. He developed early on a distinctive, limpid form of essay writing, and his essays, in form and substance, left their unmistakable imprint on the work of the most distinguished French theorists. The writings of Barthes, Foucault, and Derrida, for example, are hardly imaginable without Blanchot. The Book to Come gathers together essays originally published in La Nouvelle Revue Française; almost all of them appear in English for the first time. Not a random collection of essays, this book is organized into four sections: "the secret of literature"; literature as exigence and as meaning; literature and the novel; and the future of writing and of the book. The authors discussed constitute a veritable repertoire: Rousseau, Proust, Artaud, Brach, Musil, James, Beckett, Bataille, Mallarmé, Joubert, and Claudel, among others.

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During the last half of the twentieth century in France, Maurice Blanchot was a key figure in exploring the relation between literature and philosophy. He developed early on a distinctive, limpid form of essay writing, and his essays, in form and substance, left their unmistakable imprint on the work of the most distinguished French theorists. The writings of Barthes, Foucault, and Derrida, for example, are hardly imaginable without Blanchot. The Book to Come gathers together essays originally published in La Nouvelle Revue Française; almost all of them appear in English for the first time. Not a random collection of essays, this book is organized into four sections: "the secret of literature"; literature as exigence and as meaning; literature and the novel; and the future of writing and of the book. The authors discussed constitute a veritable repertoire: Rousseau, Proust, Artaud, Brach, Musil, James, Beckett, Bataille, Mallarmé, Joubert, and Claudel, among others.

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Published in France in 1943, Faux Pas is the first collection of Maurice Blanchot's essays on literature and language, consisting of fifty-four short pieces that were originally issued as reviews in literary journals, and one long introductory meditation that defines the trajectory of the whole volume. These essays—like those collected in the other five books of criticism published over several decades—have established Blanchot as the most lucid and powerful French critic of the second half of the twentieth century. Sober reconstructions of the main tenets of both classical and modern, both literary and theoretical texts, they have attained the status of model readings for authors as diverse as da Vinci and Kierkegaard, Melville and Proust, Molière, Goethe, and Mallarmé. However, the book is not a miscellaneous collection of exquisite essays. The first section of the volume, "From Anguish to Language," indicates the relative unity of its trajectory and its special moment in the development of Blanchot's thought. "Anguish" was a prominent notion for the existentialist philosophies of the period of his first work, and in this book Blanchot reflects on the necessary transition from the paradoxes of anguish to a focus on the paradoxes of language. He does so without ever betraying the affective tensions that attach themselves to linguistic utterances, but he also insists that the pathos of anxiety is, in the last resort, comical. Whoever writes "I am lonely" can judge himself to be quite comical, as he evokes his solitude by addressing a reader and using means that make it impossible to be alone. This comedy of language is retraced in Blanchot's intensely luminous essays on poetry and narration, on silence and symbolism, the novel and morals, the stranger, the enigma, time, and the very possibility of literature in the works of Blake, Balzac, Rimbaud, and Gide, Bergson and Brice Parain, Rilke and Bataille, Sartre, Camus, Queneau, and so many others.

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In Tangier, young Lakhdar finds himself homeless after being caught in flagrante with his cousin Meryem. As the political and religious tensions in the Mediterranean flare up with the Arab Spring and the global financial crisis, Lakhdar and his friend Bassam entertain dreams of emigration, fuelled by a desire for freedom and a better life. Part political thriller, part road-movie, part romance, the latest novel by Mathias Enard takes us from the violence of Tangier's streets to Barcelona's louche Raval quarter. Street of Thieves is an intense coming-of-age story that delves deep into the brutal realities of the immigrant experience.

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In 1506, Michelangelo—a young but already renowned sculptor—is invited by the sultan of Constantinople to design a bridge over the Golden Horn. The sultan has offered, along with an enormous payment, the promise of immortality, since Leonardo da Vinci’s design was rejected: “You will surpass him in glory if you accept, for you will succeed where he has failed, and you will give the world a monument without equal.” Michelangelo, after some hesitation, flees Rome and an irritated Pope Julius II—whose commission he leaves unfinished—and arrives in Constantinople for this truly epic project. Once there, he explores the beauty and wonder of the Ottoman Empire, sketching and describing his impressions along the way, as he struggles to create what could be his greatest architectural masterwork. Tell Them of Battles, Kings, and Elephants—constructed from real historical fragments—is a thrilling page-turner about why stories are told, why bridges are built, and how seemingly unmatched fragments, seen from the opposite sides of civilization, can mirror one another.

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In Doing, Jean-Luc Nancy, one of the most prominent and lucid articulators of contemporary French theory and philosophy, examines the precarious but urgent relationship between being and doing. His book is not so much a call to action as a summons to more vigorous thinking, the examination and reflection that must precede any effective action. The first section of the book considers this matter tersely: Jean-Luc Nancy’s quickness of language and grace of humor lead the reader carefully past the dangers of oversimplification, toward a general awareness of meaningful being. In the last section, Nancy examines the realities of terrorist actions—specifically those that shocked Paris a few years ago, and more generally the frightening world of politics without conscience, where conscience is the root of all thinking.

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Uranus is the coldest planet in the solar system, a frozen giant named after a Greek deity. It is also the inspiration for Uranism, a concept coined by the writer Karl Heinrich Ulrichs in 1864 to define the 'third sex' and the rights of those who 'love differently'. Following in Ulrichs's footsteps, Paul B. Preciado dreams of an apartment on Uranus where he can live, free of the modern power taxonomies of race, gender, class or disability. In this bold and transgressive book, Preciado recounts his transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition, reflecting on socio-political issues including the rise of neo-fascism in Europe, the criminalization of migrants, the harassment of trans children, the technological appropriation of the uterus, and the role artists and museums might play in the writing of a new social contract. A stepchild of Michel Foucault and Judith Butler, Preciado argues, with courage and conviction, for a planetary revolution of all living beings against the norm.

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In 1506, Michelangelo – a young but already renowned sculptor – is invited by the sultan of Constantinople to design a bridge over the Golden Horn. The sultan has offered, alongside an enormous payment, the promise of immortality, since Leonardo da Vinci's design was rejected: 'You will surpass him in glory if you accept, for you will succeed where he has failed, and you will give the world a monument without equal.' Michelangelo, after some hesitation, flees Rome and an irritated Pope Julius II – whose commission he leaves unfinished – and arrives in Constantinople for this truly epic project. Once there, he explores the beauty and wonder of the Ottoman Empire, sketching and describing his impressions along the way, and becomes immersed in cloak-and-dagger palace intrigues as he struggles to create what could be his greatest architectural masterwork. Tell Them of Battles, Kings and Elephants – constructed from real historical fragments – is a thrilling page-turner about why stories are told, why bridges are built, and how seemingly unmatched pieces, seen from the opposite sides of civilization, can mirror one another.

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This new collection of challenging literary studies plays with a foundational definition of Western culture: the word become flesh. But the word become flesh is not, or no longer, a theological already-given. It is a millennial goal or telos toward which each text strives. Both witty and immensely erudite, Jacques Rancière leads the critical reader through a maze of arrivals toward the moment, perhaps always suspended, when the word finds its flesh. That is what he, a valiant and good-humored companion to these texts, goes questing for through seven essays examining a wide variety of familiar and unfamiliar works. A text is always a commencement, the word setting out on its excursions through the implausible vicissitudes of narrative and the bizarre phantasmagorias of imagery, Don Quixote's unsent letter reaching us through generous Balzac, lovely Rimbaud, demonic Althusser. The word is on its way to an incarnation that always lies ahead of the writer and the reader both, in this anguished democracy of language where the word is always taking on its flesh.

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Since the middle of the twentieth century, Maurice Blanchot has been an extraordinarily influential figure on the French literary and cultural scene. He is arguably the key figure after Sartre in exploring the relation between literature and philosophy. Blanchot early developed a distinctive, limpid firm of essay writing, and, apart from his fiction, his main work has appeared as collections of essays. His essays, in form and substance, unmistakably left their imprint on the work of the most inluential of French theorists. The writings of Barthes, Foucault, and Derrida, for example, are hardly imaginable without Blanchot, and, indeed, all three have generously paid tribute to him. Published in French in 1949, The Work of Fire is a collection of 22 essays originally issued as review essays in literary journals. Certain themes return again and again: the relation of literature and language to death; the sigificance of repetition; the historical, personal, and social function of literature; and perhaps most important, simply the question, What is at stake in the fact that something such as art or literature exists? Within each essay, Blanchot raises anew these central themes in the context of a particular work or a particular author. He has read, it appears, practically everything, and an essay on a given writer or work will bristle with apposite references to other authors and works. Among the authors discussed in The Work of Fire are Kafka, Mallarme, Holderlin, Baudelaire, Rimbaud, Sartre, Gide, Pascal, Valery, Hemingway, Henry Miller, and such lesser figures as Benjamin Constant and Jean Paulhan. The essays demonstrate Blanchot's ability to pose the most lucid questions about the essence of literature while saying something new and probing about the author or work in question.

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