The Art Of Hunger

"In a section of interviews as well as in The Red Notebook, Auster reflects on his own work - on the need to break down the boundary between living and writing, and on the use of certain genre conventions to penetrate matters of memory and identity. The Art of Hunger undermines and illuminates our accepted notions about literature and throws an unprecedented light on Auster's own richly allusive writings."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

In the days when hunger could be cultivated and practiced as an art form, the individuals who practiced it were often put on show for all to see. One man who was so devout in his pursuit of hunger pushed against the boundaries set by the circus that housed him and strived to go longer than forty days without food. As interest in his art began to fade, he pushed the boundaries even further. In this short story about one man's plight to prove his worth, Franz Kafka illustrates the themes of self-hatred, dedication, and spiritual yearning. As part of our mission to publish great works of literary fiction and nonfiction, Sheba Blake Publishing Corp. is extremely dedicated to bringing to the forefront the amazing works of long dead and truly talented authors.

Now including The Red Notebook--a collection of autobiographical sketches on coincidence--The Art Of Hunger undermines our accepted notions about literature. Auster's meditations on writing and artists leads us to a better understanding of the toll of writing.

Hunger is one of the governing metaphors for literature in the late nineteenth and twentieth centuries. Beginning in the mid-nineteenth century, writers and critics repeatedly describe writing as a process of starvation, as in the familiar type of the starving artist, and high art as therejection of 'culinary' pleasures. The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism argues that this metaphor offers a way of describing the contradictions of aesthetic autonomy in modernist literature and its late-twentieth-century heirs. This book traces the emergence of atradition of writing it calls the 'art of hunger', from the origins of modernism to the end of the twentieth century. It focuses particularly on three authors who redeploy the modernist art of hunger as a response to key moments in the history of modernist aesthetic autonomy's delegitimization:Samuel Beckett in post-Vichy France; Paul Auster in post-1968 Paris and New York; and J. M. Coetzee in late apartheid South Africa. Combining historical analysis of these literary fields with close readings of individual texts, and drawing extensively on new archival research, this book offers a counter-history of modernism's post-World War II reception and a new theory of aesthetic autonomy as a practice of unfreedom.

'In recent decades, interest in hunger artists has greatly diminished.' Kafka published two collections of short stories in his lifetime, A Country Doctor: Little Tales (1919) and A Hunger Artist: Four Stories (1924). Both collections are included in their entirety in this edition, which also contains other, uncollected stories and a selection of posthumously published works that have become part of the Kafka canon. Enigmatic, satirical, often bleakly humorous, these stories approach human experience at a tangent: a singing mouse, an ape, an inquisitive dog, and a paranoid burrowing creature are among the protagonists, as well as the professional starvation artist. A patient seems to be dying from a metaphysical wound; the war-horse of Alexander the Great steps aside from history and adopts a quiet profession as a lawyer. Fictional meditations on art and artists, and a series of aphorisms that come close to expressing Kafka's philosophy of life, further explore themes that recur in his major novels. Newly translated, and with an invaluable introduction and notes, Kafka's short stories are haunting and unforgettable. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Hunger is one of the governing metaphors for literature in the late nineteenth and twentieth centuries. Beginning in the mid-nineteenth century, writers and critics repeatedly describe writing as a process of starvation, as in the familiar type of the starving artist, and high art as the rejection of 'culinary' pleasures. The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism argues that this metaphor offers a way of describing the contradictions of aesthetic autonomy in modernist literature and its late-twentieth-century heirs. This book traces the emergence of a tradition of writing it calls the 'art of hunger', from the origins of modernism to the end of the twentieth century. It focuses particularly on three authors who redeploy the modernist art of hunger as a response to key moments in the history of modernist aesthetic autonomy's delegitimization: Samuel Beckett in post-Vichy France; Paul Auster in post-1968 Paris and New York; and J. M. Coetzee in late apartheid South Africa. Combining historical analysis of these literary fields with close readings of individual texts, and drawing extensively on new archival research, this book offers a counter-history of modernism's post-World War II reception and a new theory of aesthetic autonomy as a practice of unfreedom.

A landmark book, “brilliant, thoughtful” (The Atlantic) and “raw and gorgeous” (LA Times), that fast-forwards the discussion of the central artistic issues of our time, from the bestselling author of The Thing About Life Is That One Day You'll Be Dead. Who owns ideas? How clear is the distinction between fiction and nonfiction? Has the velocity of digital culture rendered traditional modes obsolete? Exploring these and related questions, Shields orchestrates a chorus of voices, past and present, to reframe debates about the veracity of memoir and the relevance of the novel. He argues that our culture is obsessed with “reality,” precisely because we experience hardly any, and urgently calls for new forms that embody and convey the fractured nature of contemporary experience.