The Writing Of The Disaster

Modern history is haunted by the disasters of the century--world wars, concentration camps, Hiroshima, and the Holocaust--grief, anger, terror, and loss beyond words, but still close, still impending. How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster's infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

In the aftermath of disaster, literary and other cultural representations of the event can play a role in the renegotiation of political power. In Disaster Writing, Mark D. Anderson analyzes four natural disasters in Latin America that acquired national significance and symbolism through literary mediation: the 1930 cyclone in the Dominican Republic, volcanic eruptions in Central America, the 1985 earthquake in Mexico City, and recurring drought in northeastern Brazil. Taking a comparative and interdisciplinary approach to the disaster narratives, Anderson explores concepts such as the social construction of risk, landscape as political and cultural geography, vulnerability as the convergence of natural hazard and social marginalization, and the cultural mediation of trauma and loss. He shows how the political and historical contexts suggest a systematic link between natural disaster and cultural politics.

Presents a humorous ode to cinematic hubris, discussing the story of the mysteriously wealthy misfit, Tommy Wiseau, the producer, director, and star of the "The Room," which later became an international cult film despite making no money at the box office.

This volume, a powerful short prose piece by Blanchot with an extended essay by Derrida, records a remarkable encounter in critical and philosophical thinking.

When we think of Heidegger's influence in France, we tend to focus on such contemporary thinkers as Jacques Derrida, Michel Foucault, and Jean-François Lyotard. In Generation Existential, Ethan Kleinberg shifts the focus to the initial reception of Heidegger's philosophy in France by those who first encountered it. Kleinberg explains the appeal of Heidegger's philosophy to French thinkers, as well as the ways they incorporated and expanded on it in their own work through the interwar, Second World War, and early postwar periods. In so doing, Kleinberg offers new insights into intellectual figures whose influence on modern French philosophy has been enormous, including some whose thought remains under-explored outside France. Among Kleinberg's "generation existential" are Jean Beaufret, the only member of the group whom one could characterize as "a Heideggerian"; Maurice Blanchot; Alexandre Kojéve; Emmanuel Levinas; and Jean-Paul Sartre. In showing how each of these figures engaged with Heidegger, Kleinberg helps us to understand how the philosophy of this right-wing thinker had such a profound influence on intellectuals of the left. Furthermore, Kleinberg maintains that our view of Heidegger's influence on contemporary thought is contingent on our comprehension of the ways in which his philosophy was initially understood, translated, and incorporated into the French philosophical canon by this earlier generation.

"Terror, disaster, memory, selfhood, happiness . . . leave it to a poet to tackle the unthinkable so wisely and so wittily."* A literary guide to life in the pre-apocalypse, The Unreality of Memory collects profound and prophetic essays on the Internet age’s media-saturated disaster coverage and our addiction to viewing and discussing the world’s ills. We stare at our phones. We keep multiple tabs open. Our chats and conversations are full of the phrase “Did you see?” The feeling that we’re living in the worst of times seems to be intensifying, alongside a desire to know precisely how bad things have gotten—and each new catastrophe distracts us from the last. The Unreality of Memory collects provocative, searching essays on disaster culture, climate anxiety, and our mounting collective sense of doom. In this new collection, acclaimed poet and essayist Elisa Gabbert explores our obsessions with disasters past and future, from the sinking of the Titanic to Chernobyl, from witch hunts to the plague. These deeply researched, prophetic meditations question how the world will end—if indeed it will—and why we can’t stop fantasizing about it. Can we avoid repeating history? Can we understand our moment from inside the moment? With The Unreality of Memory, Gabbert offers a hauntingly perceptive analysis of our new ways of being and a means of reconciling ourselves to this unreal new world. "A work of sheer brilliance, beauty and bravery.” *—Andrew Sean Greer, author of Less

How did the Victorian fixation on the disastrous John Franklin expedition transform our understanding of the Northwest Passage and the Arctic? Today we still tend to see the Arctic and the Northwest Passage through nineteenth-century perspectives, which focused on the discoveries of individual explorers, their illustrated books, visual culture, imperial ambitions, and high-profile disasters. However, the farther back one looks, the more striking the differences appear in how Arctic exploration was envisioned. Writing Arctic Disaster uncovers a wide range of exploration cultures: from the manuscripts of secretive corporations like the Hudson's Bay Company, to the nationalist Admiralty and its innovative illustrated books, to the searches for and exhibits of disaster relics in the Victorian era. This innovative study reveals the dangerous afterlife of this Victorian conflation of exploration and disaster, in the geopolitical significance accruing around the 2014 discovery of Franklin's ship Erebus in the Northwest Passage.

Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers--among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature, first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarmé, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language.