Neoreaction is not your grandfather's conservatism, but the web 2.0 era marriage between modern engineering principles and classical anti-democratic thought. Its central tenet is that the Enlightenment was a mistake, and in The Dark Enlightenment, Nick Land burns progressivism to the ground, salts the earth around its ashes, and raises an altar to anti-humanism in its place.

Land explicates the main ideas of neoreaction-the Cathedral, neocameralism, formalism, etc.-always viewing democracy, liberalism, and politics in general through the lens of Darwinism. The result is something like Thomas Hobbes as ghostwritten by H. P. Lovecraft. Included in this volume is an unreleased essay by Land on the writing and impact of The Dark Enlightenment.

Absolutely none of this incendiary work has been proven wrong in the ten years since it was written. No doubt it will remain relevant for many years to come.

Translation, here, is decolonial feminist work.- from the Foreword by Françoise Vergès.

What are the histories, constraints, and possibilities of language in relation to bodies, origins, land, colonialism, gender, war, displacement, desire, and migration?

Moving across genres, memories, belongings, and borders, these luminous essays by poets, writers, and translators invite us to consider translation as a form of ethical and political love - one that requires attentive regard of an other - and a making and unmaking of self.

Contributors include: Khairani Barokka, Yasmine Haj, Otoniya J. Okot Bitek, Nedra Rodrigo, Suneela Mubayi, Iryn Tushabe, Gopika Jadeja, Rahat Kurd, Geetha Sukumaran, Norah Alkharashi, and Lisa Ndejuru.

The essay collection everyone's talking about.--New York

A MOST ANTICIPATED BOOK OF 2024: Elle, The Millions, LitHub, Nylon, BookPage, PureWow, and more

From the national bestselling novelist and essayist, a groundbreaking collection of brand-new pieces about the role of cultural criticism in our ever-changing world.

In her writing for Harper's, the London Review of Books, The New Yorker, and elsewhere, Lauren Oyler has emerged as one of the most trenchant and influential critics of her generation, a talent whose judgments on works of literature--whether celebratory or scarily harsh--have become notorious. But what is the significance of being a critic and consumer of media in today's fraught environment? How do we understand ourselves, and each other, as space between the individual and the world seems to get smaller and smaller, and our opinions on books and movies seem to represent something essential about our souls? And to put it bluntly, why should you care what she--or anyone--thinks?

In this, her first collection of essays, Oyler writes with about topics like the role of gossip in our exponentially communicative society, the rise and proliferation of autofiction, why we're all so vulnerable these days, and her own anxiety. In her singular prose--sharp yet addictive, expansive yet personal--she encapsulates the world we live and think in with precision and care, delivering a work of cultural criticism as only she can.

Bringing to mind the works of such iconic writers as Susan Sontag, Pauline Kael, and Terry Castle, No Judgment is a testament to Lauren Oyler's inimitable wit and her quest to understand how we shape the world through culture. It is a sparkling nonfiction debut from one of today's most inventive thinkers.

The road novel is often dismissed as a mundane, nostalgic genre: Jack, Sal, and other tedious white men on the road trying to recapture an authentic youth and American past that never existed. Yet, new road novels appear every year, tackling unexpected questions and spanning new geographies, from Mexico, Brazil, Bulgaria, Palestine, Ukraine, and former-Yugoslavia. Why did the road novel emerge and why does it persist? What does it do and why has it traveled so widely?

Myka Tucker-Abramson draws from an archive of more than 140 global road novels from over twenty countries, challenging dominant conceptions of the road novel as primarily concerned with American experiences and subjectivities. Grounding her analysis in materialist theories of genre, world-ecology and commodity frontier frameworks, and post-45 American literary studies, Tucker-Abramson persuasively argues that the road novel is a genre specific to, coterminous with, and revealing of US hegemony's global trajectory. Shifting our focus from Americanness to the fraught geopolitics of US Empire, from the car to the built environment through which it moves, and from passengers to those left behind, Tucker-Abramson remaps the road novel, elucidating the genre's unique ability both to reveal the violent and vertiginous processes of capitalist modernization and to obfuscate these harsh truths through seductive narratives of individual success and failure.

As climate change alters seasons around the globe, literature registers and responds to shifting environmental time. A writer and a fisher track the distribution of beach trash in Chennai, chronicling disruptions in seasonal winds and currents along the Bay of Bengal. An essayist in the northeastern United States observes that maple sap flows earlier now, prompting him to reflect on gender and seasons of transition. Poets affiliated with small island nations arrive in Paris for the United Nations climate summit, revamping the occasional poem to attest to intensifying storm seasons across the Pacific.

In Unseasonable, Sarah Dimick links these accounts of shifting seasons across the globe, tracing how knowledge of climate change is constructed, conveyed, and amplified via literature. She documents how the unseasonable reverberates through environmentally privileged and environmentally precarious communities. In chapters ranging from Henry David Thoreau's journals to Alexis Wright's depiction of Australia's catastrophic bushfires, from classical Tamil poetry to repeat photography, Dimick illustrates how seasonal rhythms determine what flourishes and what perishes. She contends that climate injustice is an increasingly temporal issue, unfolding not only along the axes of who and where but also in relation to when. Amid misaligned and broken rhythms, attending to the shared but disparate experience of the unseasonable can realign or sharpen solidarities within the climate crisis.

The essay collection everyone's talking about.--New York

A MOST ANTICIPATED BOOK OF 2024: Elle, The Millions, LitHub, Nylon, BookPage, PureWow, and more

From the national bestselling novelist and essayist, a groundbreaking collection of brand-new pieces about the role of cultural criticism in our ever-changing world.

In her writing for Harper's, the London Review of Books, The New Yorker, and elsewhere, Lauren Oyler has emerged as one of the most trenchant and influential critics of her generation, a talent whose judgments on works of literature--whether celebratory or scarily harsh--have become notorious. But what is the significance of being a critic and consumer of media in today's fraught environment? How do we understand ourselves, and each other, as space between the individual and the world seems to get smaller and smaller, and our opinions on books and movies seem to represent something essential about our souls? And to put it bluntly, why should you care what she--or anyone--thinks?

In this, her first collection of essays, Oyler writes with about topics like the role of gossip in our exponentially communicative society, the rise and proliferation of autofiction, why we're all so vulnerable these days, and her own anxiety. In her singular prose--sharp yet addictive, expansive yet personal--she encapsulates the world we live and think in with precision and care, delivering a work of cultural criticism as only she can.

Bringing to mind the works of such iconic writers as Susan Sontag, Pauline Kael, and Terry Castle, No Judgment is a testament to Lauren Oyler's inimitable wit and her quest to understand how we shape the world through culture. It is a sparkling nonfiction debut from one of today's most inventive thinkers.

The road novel is often dismissed as a mundane, nostalgic genre: Jack, Sal, and other tedious white men on the road trying to recapture an authentic youth and American past that never existed. Yet, new road novels appear every year, tackling unexpected questions and spanning new geographies, from Mexico, Brazil, Bulgaria, Palestine, Ukraine, and former-Yugoslavia. Why did the road novel emerge and why does it persist? What does it do and why has it traveled so widely?

Myka Tucker-Abramson draws from an archive of more than 140 global road novels from over twenty countries, challenging dominant conceptions of the road novel as primarily concerned with American experiences and subjectivities. Grounding her analysis in materialist theories of genre, world-ecology and commodity frontier frameworks, and post-45 American literary studies, Tucker-Abramson persuasively argues that the road novel is a genre specific to, coterminous with, and revealing of US hegemony's global trajectory. Shifting our focus from Americanness to the fraught geopolitics of US Empire, from the car to the built environment through which it moves, and from passengers to those left behind, Tucker-Abramson remaps the road novel, elucidating the genre's unique ability both to reveal the violent and vertiginous processes of capitalist modernization and to obfuscate these harsh truths through seductive narratives of individual success and failure.

This volume examines Ibero-American as well as Slavic literatures of the 21st century and studies how historical imaginaries in family narratives are functionalized for both individual and collective and (post-)national identities.

The analysis proceeds along three conceptual axes. What these narratives have in common is that they construct specific constellations of the historical imagination and of family, whereby 'family' is here conceived not so much as an organic micro-unity, but rather as changing, multiple relations between individual members, godparents, first- and second-degree relatives, non-blood-related family members, present and absent members, adopted children, etc. Furthermore, these novels are often grounded in trans-generational memories. They are written by members of a generation that, as a rule, did not directly experience these historical events. It is also significant that these narratives are no longer conceived as representing national identities, but paradigmatically speak for a collective that defines itself in regional, ethnic, religious or ideological terms. It seems, therefore, that these narratives of family constellations are in need of more flexible typological rubrics and interpretive frameworks.

Intended as a sustained comparative study of these family narratives, this volume is a contribution in understanding how historical caesura, experiences, and their literary representation work on the self-understanding of the present.

The ethnically and linguistically diverse nation of Sierra Leone boasts a rich cultural legacy and, in the first decades of the twenty-first century, has built an internationally recognized literary canon despite the ravages caused by a brutal civil war and then the Ebola and Covid pandemics. While acknowledging the country's literary and creative heritage dating back to the mid-twentieth century, this book interrogates a number of prominent themes and critical perspectives on Sierra Leone's contemporary literature.

Drawing from body studies, post-colonial theory, spatial theory, trauma theory, ecocriticism, history, and cultural studies, scholars and writers from West Africa and the United States tease out the beginnings, ecology, and dynamism of a bona fide national literature. They do so through a careful examination of such themes as social oppression and class distinction, dystopia, ethnocentricity, homophobia, misogyny and gender disparities, anthropocentrism, self-discovery, social transformation, identity, social degradation, genocide, and trauma, while also theorizing constructs such as home, migration, displacement, community, and return. Throughout, contributors argue for a better appreciation of a vibrant national literature by Sierra Leoneans themselves as well as its place in and contribution to world literature more generally.

Exploring the rise of open scholarship in the digital era and its transformational impact on how knowledge is created, shared, and accessed, this open access book offers new insights on the history, development, and future directions of openness in the humanities and identifies key drivers, opportunities, and challenges.

The concept of open research is reconfiguring scholarly communication across all disciplines, changing how understandings are produced through more accessible, participatory, ethical, and transparent approaches, reaching and involving far broader and more diverse publics. Considering multiple stakeholder perspectives, Arthur and Hearn argue that for the humanities to proactively contribute to open knowledge at the global scale, new ways of thinking are needed within every part of the system. In the open information economy, the humanities are on a trajectory following the sciences, but parts of the world are almost completely left out. A cultural shift is required for universities to unlock the powerful potential of humanities open scholarship. In this wide-ranging overview, the authors show why and how the global research community must work together for meaningful outcomes. Open scholarship has undergone a profound change since its beginnings from a call to action to an essential principle in research organizations internationally. However, the core impulse remains: to reshape the information environment and harness the world's knowledge for the greatest benefit of society.

The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Edith Cowan University.

A comparative study of contemporary realist novels that employ totality as a method and a formal principle to represent the social and economic inequalities of the present, this book examines writing in English, Italian, Kannada, and Spanish by authors from Zimbabwe, Ghana, Italy, India and Mexico.

By theorizing four modalities of totalization employed by contemporary realist writers, this book explores the current resurgence of realism and challenges critical approaches that consider it naive or formally unsophisticated. Instead, it argues that realist novels offer a self-conscious and serious representation of the world we inhabit while actively envisioning new social designs and political configurations. Through comparative studies of novels by Fernanda Melchor, NoViolet Bulawayo, Vivek Shanbhag, Nicola Lagioia, Igiaba Scego, Yaa Gyasi and Roberto Bolaño, this book further explains why realism can be a powerful antidote to the skepticism about the possibility of making truth-claims in humanist research.

How do we tell twenty-first-century war stories when the wars seem to go on forever?

In the post-2011 surge of war stories published in America and Iraq, the defining characteristic is the depiction of combat violence that crosses borders, overtakes civilian spaces, and disrupts chronology. In The War Comes with You: Enduring War in Life, Fiction, and Fantasy, Stacey Peebles picks up where her groundbreaking first book, Welcome to the Suck: Narrating the American Soldier's Experience in Iraq, left off. Via careful readings of fiction, memoir, and poetry by writers such as Ben Fountain, Siobhan Fallon, Brian Turner, and Hassan Blasim, as well as recent superhero and Star Wars films, Peebles argues that, in the face of real and fantasy forever wars, things fall apart. Language, identities, bodies, and even the stories themselves fragment. These narratives suggest that people need not accept incoherence and there is a range of meaningful responses to the experience of everywhere, all-the-time war. Peebles illustrates what to do, that is, when war comes with you.

Translation as Home is a collection of autobiographical essays by Ilan Stavans that eloquently and unequivocally make the case that translation is not only a career, but a way of life.

Born in Mexico City, Ilan Stavans is an essayist, anthologist, literary scholar, translator, and editor. Stavans has changed languages at various points in his life: from Yiddish to Spanish to Hebrew and English. A controversial public intellectual, he is the world's authority on hybrid languages and on the history of dictionaries. His influential studies on Spanglish have redefined many fields of study, and he has become an international authority on translation as a mechanism of survival.

This collection deals with Stavans's three selves: Mexican, Jewish, and American. The volume presents his recent essays, some previously unpublished, addressing the themes of language, identity, and translation and emphasizing his work in Latin American and Jewish studies. It also features conversations between Stavans and writers, educators, and translators, including Regina Galasso, the author of the introduction and editor of the volume.

Co-winner, 2024 Matei Calinescu Prize, Modern Language Association

By most accounts, immigrant literature deals primarily with how immigrants struggle to adapt to their adopted countries. Its readers have come to expect stories of identity formation, of how immigrants create ethnic communities and maintain ties to countries of origin. Yet such narratives can center exceptional stories of individual success or obscure the political forces that uproot millions of people the world over.

Glenda R. Carpio argues that we need a new paradigm for migrant fiction. Migrant Aesthetics shows how contemporary authors--Teju Cole, Dinaw Mengestu, Aleksandar Hemon, Valeria Luiselli, Julie Otsuka, and Junot Díaz--expose the historical legacies and political injustices that produce forced migration through artistic innovation. Their fiction rejects the generic features of immigrant literature--especially the acculturation plot and the use of migrant narrators as cultural guides who must appeal to readerly empathy. They emphasize the limits of empathy, insisting instead that readers recognize their own roles in the realities of migration, which, like climate change, is driven by global inequalities. Carpio traces how these authors create literary echoes of the past, showing how the history of (neo)colonialism links distinct immigrant experiences and can lay the foundation for cross-ethnic migrant solidarity. Revealing how migration shapes and is shaped by language and narrative, Migrant Aesthetics casts fiction as vital testimony to past and present colonial, imperial, and structural displacement and violence.

Everywhere today, we are urged to connect. Literary critics celebrate a new honesty in contemporary fiction or call for a return to realism. Yet such rhetoric is strikingly reminiscent of earlier theorizations. Two of the most famous injunctions of twentieth-century writing--E. M. Forster's Only connect . . . and Fredric Jameson's Always historicize!--helped establish connection as the purpose of the novel and its reconstruction as the task of criticism. But what if connection was not the novel's modus operandi but the defining aesthetic ideology of our era--and its most monetizable commodity? What kind of thought is left for the novel when all ideas are acceptable as long as they can be fitted to a consumer profile?

This book develops a new theory of the novel for the twenty-first century. In the works of writers such as J. M. Coetzee, Rachel Cusk, James Kelman, W. G. Sebald, and Zadie Smith, Timothy Bewes identifies a mode of thought that he calls free indirect, in which the novel's refusal of prevailing ideologies can be found. It is not situated in a character or a narrator and does not take a subjective or perceptual form. Far from heralding the arrival of a new literary genre, this development represents the rediscovery of a quality that has been largely ignored by theorists: thought at the limits of form. Free Indirect contends that this self-awakening of contemporary fiction represents the most promising solution to the problem of thought today.