The Ecstatic Moment

A Simple power-packed guide that helps us take appropriate responsibility for our experience and establish healthy boundaries with others. Once your have read this book you will keep it in your briefcase or on your bedside table, referring to it often. You will not find a more practical, down to earth guide to contemporary spirituality. You will want to order copies for all your friends.

This work is not only a general inquiry into ecstatic states of consciousness and an historical outline of the ecstatic poetic tradition but also an intensive study of five representative poets--Rumi, Wordsworth, Whitman, Dickinson, and Tagore. In a refreshingly original, wide-ranging engagement with concepts in psychology, religion, philosophy, aesthetics, sociology and history, this book demonstrates that the poetics and aesthetics of ecstasy represent an ancient, ubiquitous theory of poetry that continues to influence writers in the current century.

First Published in 2005. Whitman's Ecstatic Union rereads the first three editions of Leaves of Grass within the context of a nineteenth-century antebellum evangelical culture of conversion. Though Whitman intended to write a new American Bible and inaugurate a religion, contemporary scholarship has often ignored the religious element in his poetry. But just as evangelists sought the redemption of America through the reconstruction of individual subjects in conversion, Leaves of Grass sought to redeem the nation by inducing ecstatic, regenerating experiences in its readers. Whitman's Ecstatic Union explores the ecstasy of conversion as a liminal moment outside of language and culture, and-employing Althusser's model of ideological interpellation and anthropological models of religious ritual-shows how evangelicalism remade subjects by inducing ecstasy and instilling new narratives of identity. The book analyzes Whitman's historical relationship to preaching and conversion and reads the 1855 Song of Myself as a conversion narrative. A focus on the 1856 edition and the poem To You explores the sacred seductions at the heart of Whitman's poetry. Crossing Brooklyn Ferry and Whitman's vision of a world of perfect miracles are then connected to a conception of universal affection, uncannily paralleling Jonathan Edward's ideal of love to being in general. A conclusion looks toward the transformations of Whitman's vision in the 1860 edition.

On June 23rd, 1950, Pavese, Italy's greatest modern writer received the coveted Strega Award for his novel Among Women Only. On August 26th, in a small hotel in his home town of Turin, he took his own life. Shortly before his death, he methodically destroyed all his private papers. His diary is all that remains and for this the contemporary reader can be grateful. Contemporary speculation attributed this tragedy to either an unhappy love aff air with the American film star Constance Dawling or his growing disillusionment with the Italian Communist Party. His Diaries, however, reveal a man whose art was his only means of repressing the specter of suicide which had haunted him since childhood: an obsession that fi nally overwhelmed him. As John Taylor notes, he possessed something much more precious than a political theory: a natural sensitivity to the plight and dignity of common people, be they bums, priests, grape-pickers, gas station attendants, offi ce workers, or anonymous girls picked up on the street (though to women, the author could--as he admitted--be as misogynous as he was aff ectionate). Bitter and incisive, This Business of Living, is both moving and painful to read and stands with James Joyce's Letters and Andre Gide's Journals as one of the great literary testaments of the twentieth century. Cesare Pavese (1908-1950), was educated in Turin. In 1930 he began to contribute essays on American literature to La Cultura, of which he later became editor. In 1935 he was imprisoned for anti-fascist activities. This experience formed the basis of The Political Prisoner. Between 1936 and 1940 nine of his books were published in Italy, these included novels, short stories, poetry and essays. His books have been fi lmed and dramatized, and translated into many languages. John Taylor, a frequent contributor to the Times Literary Supplement, Context, the Yale Review, the Antioch Review, the Michigan Quarterly Review, and Chelsea, has introduced numerous European writers and poets to English readers, often for the first time. Some of his works include The Apocalypse Tapestries, Paths to Contemporary French Literature (Volumes 1 and 2) and Into the Heart of European Poetry.

This book opens up a dialogue between pre-modern women identified as mystics in diverse locations from South Asia to Europe. It considers how women from the disparate religious traditions of Hinduism, Islam, and Christianity expressed devotion in parallel ways. The argument is that women’s mysticism demands to be compared not because of any essential "female" experience of the divine but because the parallel positions of marginalization that pre-modern women experienced led them to deploy intimate encounters with the divine to speak publicly and claim authority. The topics covered range from the Sufi devotional tradition of Sidis (Indians of African ancestry) to the Bhakti poet Mīrābaī and the nuns of Barking Abbey. Collectively the chapters show how mysticism allowed premodern women to speak and act by unsettling traditional gender roles and expectations for religious behavior. At the same time as uncovering connections, the juxtaposition of women from different traditions serves to highlight distinctive features. The book draws on a range of disciplinary expertise and will be of particular interest to scholars of medieval religion and theology as well as history and literary studies.

"Calypsonians have long been the 'voice of the people', delivering the complaints, criticisms and even the solutions to political leaders. In its earliest manifestations, calypso music emerged in response to a cultural climate that demanded creative modes of expression that could both resist and record political and historical changes taking place in Trinidad and Tobago. Since the 1920s and 1930s, calypsonians typically have composed songs that chronicle their observations and opinions on current events focusing on specific occurrences, from local scandals to current affairs while also examining broader trends. Not only has calypso served as an unofficial record of historical events, it emerged as a cultural weapon that yielded tremendous sway within the general audiences of the Caribbean region. This collection includes contributions from calypsonians, critics, novelists and poets alike, all engaged in representing Caribbean culture in its myriad forms. It represents an array of convergences across critical perspectives, political and social agendas, generations and national boundaries. The work of numerous calypsonians and other singers are explored, including Sparrow; Kitchener; Chalkdust; Denise Belfon; and writers such as Samuel Selvon, V.S. Naipaul, Jean Rhys, Errol John, Paul Marshall, Earl Lovelace and Lashkmi Persaud. The comparative analyses provide an interdisciplinary approach to Cultural Studies making the volume essential reading for students, scholars and calypso enthusiasts. "