Secrecy And Community In 21st Century Fiction

"Collects a range of theoretical approaches and close readings in order to analyze the relationship between secrecy and community in contemporary fiction"--

Secrecy and Community in 21st-Century Fiction examines the relation between secrecy and community in a diverse and international range of contemporary fictional works in English. In its concern with what is called 'communities of secrecy', it is fundamentally indebted to the thought of Jacques Derrida, Jean-Luc Nancy and Maurice Blanchot, who have pointed to the fallacies and dangers of identitarian and exclusionary communities, arguing for forms of being-in-common characterized by non-belonging, singularity and otherness. Also drawing on the work of J. Hillis Miller, Derek Attridge, Nicholas Royle, Matei Calinescu, Frank Kermode and George Simmel, among others, this volume analyses the centrality of secrets in the construction of literary form, narrative sequence and meaning, together with their foundational role in our private and interpersonal lives and the public and political realms. In doing so, it engages with the Derridean ethico-political value of secrecy and Derrida's conception of literature as the exemplary site for the operation of the unconditional secret.

There is a hidden country within the United States. It was formed from the astonishing number of secrets held by the government and the growing ranks of secret-keepers given charge over them. The government secrecy industry speaks in a private language of codes and acronyms, and follows an arcane set of rules and customs designed to perpetuate itself, repel penetration, and deflect oversight. It justifies itself with the assertion that the American values worth preserving are often best sustained by subterfuge and deception. Deep State, written by two of the country's most respected national security journalists, disassembles the secrecy apparatus of the United States and examines real-world trends that ought to trouble everyone from the most aggressive hawk to the fiercest civil libertarian. The book: - Provides the fullest account to date of the National Security Agency’s controversial surveillance program first spun up in the dark days after 9/11. - Examines President Obama's attempt to reconcile his instincts as a liberal with the realities of executive power, and his use of the state secrets doctrine. - Exposes how the public’s ubiquitous access to information has been the secrecy industry's toughest opponent to date, and provides a full account of how WikiLeaks and other “sunlight” organizations are changing the government's approach to handling sensitive information, for better and worse. - Explains how the increased exposure of secrets affects everything from Congressional budgets to Area 51, from SEAL Team Six and Delta Force to the FBI, CIA, and NSA. - Assesses whether the formal and informal mechanisms put in place to protect citizens from abuses by the American deep state work, and how they might be reformed.

Secrecy and Community in 21st-Century Fiction examines the relation between secrecy and community in a diverse and international range of contemporary fictional works in English. In its concern with what is called 'communities of secrecy', it is fundamentally indebted to the thought of Jacques Derrida, Jean-Luc Nancy and Maurice Blanchot, who have pointed to the fallacies and dangers of identitarian and exclusionary communities, arguing for forms of being-in-common characterized by non-belonging, singularity and otherness. Also drawing on the work of J. Hillis Miller, Derek Attridge, Nicholas Royle, Matei Calinescu, Frank Kermode and George Simmel, among others, this volume analyses the centrality of secrets in the construction of literary form, narrative sequence and meaning, together with their foundational role in our private and interpersonal lives and the public and political realms. In doing so, it engages with the Derridean ethico-political value of secrecy and Derrida's conception of literature as the exemplary site for the operation of the unconditional secret.

The Canadian first lady of Iceland pens a book about why this tiny nation is leading the charge in gender equality, in the vein of The Moment of Lift. Iceland is the best place on earth to be a woman—but why? For the past twelve years, the World Economic Forum’s Global Gender Gap Report has ranked Iceland number one on its list of countries closing the gap in equality between men and women. What is it about Iceland that enables its society to make such meaningful progress in this ongoing battle, from electing the world’s first female president to passing legislation specifically designed to help even the playing field at work and at home? The answer is found in the country’s sprakkar, an ancient Icelandic word meaning extraordinary or outstanding women. Eliza Reid—Canadian born and raised, and now first lady of Iceland—examines her adopted homeland’s attitude toward women: the deep-seated cultural sense of fairness, the influence of current and historical role models, and, crucially, the areas where Iceland still has room for improvement. Throughout, she interviews dozens of sprakkar to tell their inspirational stories, and expertly weaves in her own experiences as an immigrant from small-town Canada. The result is an illuminating discussion of what it means to move through the world as a woman and how the rules of society play more of a role in who we view as equal than we may understand. What makes many women’s experiences there so positive? And what can we learn about fairness to benefit our society? Like influential and progressive first ladies Eleanor Roosevelt, Hillary Rodham Clinton, and Michelle Obama, Reid uses her platform to bring the best of her nation to the world. Secrets of the Sprakkar is a powerful and atmospheric portrait of a tiny country that could lead the way forward for us all.

Penguin inaugurates a series of revised editions of Conrad's finest works, with new introductions In a corrupt London underworld of criminals, terrorists, and fanatics, Mr. Verloc is assigned to plant a bomb. The tragic repercussions for his family show how Conrad's ironic voice is concerned not with politics but with the terrible fates of ordinary people.