The Vocation Of Writing

Explores how violence structures language and the writing of literature and philosophy. Within the violence our societies must confront today exists a dimension proper to language. Anyone who has been through the educational system, for example, recognizes how language not only shapes and models us, but also imposes itself upon us. During the twentieth century, this system revealed how language can condemn one to a certain death. In The Vocation of Writing, philosopher Marc Crépon explores this dimension of language, convinced that the node of all violence pertains first to language and how we make use of it. Crépon focuses on Kafka, Levinas, Singer, and Derrida, not only because each rose against commandeering language in order to warn against the next massacres, but also because their work affirms the vocation of writing—that which makes literature and philosophy the final weapon for unmasking the violence and hatred that language bears at its heart. To affirm the vocation of writing is to turn language against itself, to defuse its murderous potentialities by opening it toward exchange, responsibility, and humanity when the latter fixes the other and the world as its goals. D. J. S. Cross is a FONDECYT Postdoctoral Fellow at the Instituto de Filosofía at the Pontificia Universidad Católica de Chile. Tyler M. Williams is Assistant Professor of Humanities at Midwestern State University.

Explores how violence structures language and the writing of literature and philosophy. Within the violence our societies must confront today exists a dimension proper to language. Anyone who has been through the educational system, for example, recognizes how language not only shapes and models us, but also imposes itself upon us. During the twentieth century, this system revealed how language can condemn one to a certain death. In The Vocation of Writing, philosopher Marc Crépon explores this dimension of language, convinced that the node of all violence pertains first to language and how we make use of it. Crépon focuses on Kafka, Levinas, Singer, and Derrida, not only because each rose against commandeering language in order to warn against the next massacres, but also because their work affirms the vocation of writing—that which makes literature and philosophy the final weapon for unmasking the violence and hatred that language bears at its heart. To affirm the vocation of writing is to turn language against itself, to defuse its murderous potentialities by opening it toward exchange, responsibility, and humanity when the latter fixes the other and the world as its goals.

When Thomas Merton entered a Trappist monastery in December 1941, he turned his back on secular life—including a very promising literary career. He sent his journals, a novel-in-progess, and copies of all his poems to his mentor, Columbia professor Mark Van Doren, for safe keeping, fully expecting to write little, if anything, ever again. It was a relatively short-lived resolution, for Merton almost immediately found himself being assigned writing tasks by his Abbot—one of which was the autobiographical essay that blossomed into his international best-seller The Seven Storey Mountain. That book made him famous overnight, and for a time he struggled with the notion that the vocation of the monk and the vocation of the writer were incompatible. Monasticism called for complete surrender to the absolute, whereas writing demanded a tactical withdrawal from experience in order to record it. He eventually came to accept his dual vocation as two sides of the same spiritual coin and used it as a source of creative tension the rest of his life. Merton’s thoughts on writing have never been compiled into a single volume until now. Robert Inchausti has mined the vast Merton literature to discover what he had to say on a whole spectrum of literary topics, including writing as a spiritual calling, the role of the Christian writer in a secular society, the joys and mysteries of poetry, and evaluations of his own literary work. Also included are fascinating glimpses of his take on a range of other writers, including Henry David Thoreau, Flannery O’Connor, Dylan Thomas, Albert Camus, James Joyce, and even Henry Miller, along with many others.

Adele Wiseman was a seminal figure in Canadian letters. Always independent and wilful, she charted her own literary career, based on her unfailing belief in her artistic vision. In The Force of Vocation, the first book on Wiseman's writing life, Ruth Panofsky presents Wiseman as a writer who doggedly and ambitiously perfected her craft, sought a wide audience for her work, and refused to compromise her work for marketability.Based on previously unpublished archival material and personal interviews with publishers, editors, and writers, The Force of Vocation charts Wiseman's career from her internationally acclaimed first novel, The Sacrifice, through her near career-ending decisions to move into drama and non-fiction, to her many years as a dedicated mentor to other writers. In the process, Panofsky presents a remarkable and compelling story of the intricate negotiations and complex relationships that exist among authors, editors, and publishers.

An important resource for educators who desire to use literary texts in cultivating vocational exploration among students or in scholarship on vocation.

The Writer's Reader is an anthology of essays on writing by major writers of the past and present and is designed to introduce beginning writers to the art of writing as well as the life of writing. It draws on the experiences and advice of many of the world's best writers, mainly from Britain and America, but also from Latin America, Asia, and Europe. These essays offer a wealth of insights into the varied ways in which writers approach writing and represent a practical resource as well as a source of inspiration for those who are hoping to become writers or who are, perhaps, just at the beginnings of their career. They include classic as well as less well-known essays, both historical and contemporary, and include, for example, essays on the vocation of writing by Natalia Ginzburg, Robert Louis Stevenson, Danilo Kis, and Jonathan Franzen; thoughts on preparing for writing by, among others, Saul Bellow, Jorge Luis Borges, Joan Didion, and Margaret Atwood; and essays on the craft of writing by writers such as Italo Calvino, Virginia Woolf, and David Foster Wallace. Taken together, this collection is a must-read for any student or devotee of writing.

Stafford's advice to beginning poets has become a favorite text in writing programs

The Apostle Paul was the greatest early missionary of the Christian gospel. He was also, by his own admission, an Israelite. How can both these realities coexist in one individual? This book argues that Paul viewed his mission to the Gentiles, in and of itself, as the primary expression of his Jewish identity. The concept of Israel’s divine vocation is used to shed fresh light on a number of much-debated passages in Paul’s letter to the Romans.