Lit Crit

For almost three decades, Gayatri Chakravorty Spivak has been ignoring the standardized "rules" of the academy and trespassing across disciplinary boundaries. Today she remains one of the foremost figures in the study of world literature and its cultural consequences. In this new book she declares the death of comparative literature as we know it and sounds an urgent call for a "new comparative literature," in which the discipline is given new life -- one that is not appropriated and determined by the market.

In the era of globalization, when mammoth projects of world literature in translation are being undertaken in the United States, how can we protect the multiplicity of languages and literatures at the university? Spivak demonstrates how critics interested in social justice should pay close attention to literary form and offers new interpretations of classics such as Joseph Conrad's Heart of Darkness and Virginia Woolf's A Room of One's Own. Through close readings of texts not only in English, French, and German but also in Arabic and Bengali, Spivak practices what she preaches.

Acclaim for Gayatri Chakravorty Spivak and her work:

"[Spivak] pioneered the study in literary theory of non-Western women." -- Edward W. Said

"She has probably done more long-term political good, in pioneering feminist and post-colonial studies within global academia, than almost any of her theoretical colleagues." -- Terry Eagleton

"A celebrity in academia... create[s] a stir wherever she goes." -- The New York Times

Benjamin's most sustained and original work, considered one of the main sources of literary modernism in the twentieth century.

Cited by Lukács as a principal source of literary modernism, Walter Benjamin’s study of the baroque stage-form called Trauerspiel (literally, “mourning play”) is the most complete document of his prismatic literary and philosophical practice. Engaging with sixteenth- and seventeenth-century German playwrights as well as the plays of Shakespeare and Calderón and the engravings of Dürer, Benjamin attempts to show how the historically charged forms of the Trauerspiel broke free of tragedy’s mythological timelessness. From its philosophical prologue, which offers a rare account of Benjamin’s early aesthetics, to its mind-wrenching meditation on allegory, The Origin of German Tragic Drama sparkles with early insights and the seeds of Benjamin’s later thought.

“Elegant dissection of Brecht’s method, from estrangements to allegory and beyond.”—Modern Drama

The legacy of Bertolt Brecht is much contested, whether by those who wish to forget or to vilify his politics, but his stature as the outstanding political playwright and poet of the twentieth century is unforgettably established in this major critical work. Fredric Jameson elegantly dissects the intricate connections between Brecht's drama and politics, demonstrating the way these combined to shape a unique and powerful influence on a profoundly troubled epoch.

Jameson sees Brecht's method as a multi-layered process of reflection and self-reflection, reference and self-reference, which tears open a gap for individuals to situate themselves historically, to think about themselves in the third person, and to use that self-projection in history as a basis for judgment. Emphasizing the themes of separation, distance, multiplicity, choice and contradiction in Brecht's entire corpus, Jameson's study engages in a dialogue with a cryptic work, unpublished in Brecht's lifetime, entitled Me-ti; Book of Twists and Turns. Jameson sees this text as key to understanding Brecht's critical reflections on dialectics and his orientally informed fascination with flow and flux, change and the non-eternal.

For Jameson, Brecht is not prescriptive but performative. His plays do not provide answers but attempt to show people how to perform the act of thinking, how to begin to search for answers themselves. Brecht represents the ceaselessness of transformation while at the same time alienating it, interrupting it, making it comprehensible by making it strange. And thereby, in breaking it up by analysis, the possibility emerges of its reconstitution under a new law.

The Rustle of Language is a collection of forty-five essays, written between 1967 and 1980, on language, literature, and teaching--the pleasure of the text--in an authoritative translation by Richard Howard.

The master philosopher and cultural theorist tackles the founder of modern dialectics.

In this major new study, philosopher and cultural theorist Fredric Jameson offers an innovative reading of a book that forms part of the bedrock of modern Western thought: Hegel’s Phenomenology of Spirit.

Whereas other writers have interpreted the Phenomenology as a rigidly closed system, Jameson discovers it to be a more fluid, open-ended work. Hegel’s mind is revealed to be a less systematic mechanism than normally thought, one whose ideas never solidify into pure abstractions. The conclusion of the Phenomenology, on the aftermath of the French Revolution, is examined as a provisional stalemate between the political and the social—a situation from which Jameson draws important lessons for our own age.

In Europe, after 1848, bourgeois consciousness in revolt sought a new universal in the working class but soon found itself in the orbit of the state civil service; in America, bourgeois consciousness in revolt found a new universal in what Melville called “antemosaic” reality, Queequeg, embodied in the multiracial working class, the “anacharsis Cloots deputation,” in radical antithesis to the state. Through a series of scholarly, linked essays, Goldner examines the works of Melville, the dispossessed grand bourgeois, and his treatment of race and class. The 1848-1850 conjuncture in the Atlantic world witnessed the birth of communism (Marx), modern art (Courbet, Flaubert), the end of classical political economy, and the formulation of the entropy law, or Second Law of Thermodynamics. Their simultaneity was not accidental, and Melville’s work echoes each of them. Echoing the work of CLR James, this is a majestic, multidisciplinary sweep through history, culture, politics, philosophy and art.

Completed just weeks before his death, the lectures in this volume mark a critical juncture in the career of Roland Barthes, in which he declared the intention, deeply felt, to write a novel. Unfolding over the course of two years, Barthes engaged in a unique pedagogical experiment: he combined teaching and writing to "simulate" the trial of novel-writing, exploring every step of the creative process along the way.

Barthes's lectures move from the desire to write to the actual decision making, planning, and material act of producing a novel. He meets the difficulty of transitioning from short, concise notations (exemplified by his favorite literary form, haiku) to longer, uninterrupted flows of narrative, and he encounters a number of setbacks. Barthes takes solace in a diverse group of writers, including Dante, whose La Vita Nuova was similarly inspired by the death of a loved one, and he turns to classical philosophy, Taoism, and the works of François-René Chateaubriand, Gustave Flaubert, Franz Kafka, and Marcel Proust.

This book uniquely includes eight elliptical plans for Barthes's unwritten novel, which he titled Vita Nova, and lecture notes that sketch the critic's views on photography. Following on The Neutral: Lecture Course at the Collège de France (1977-1978) and a third forthcoming collection of Barthes lectures, this volume provides an intensely personal account of the labor and love of writing.

From the patricians of the early republic to post-Reconstruction racial scientists, from fin de siècle progressivist social reformers to post-war sociologists, character, that curiously formable yet equally formidable “stuff,” has had a long and checkered history giving shape to the American national identity.

Bodies of Reform reconceives this pivotal category of nineteenth-century literature and culture by charting the development of the concept of “character” in the fictional genres, social reform movements, and political cultures of the United States from the mid-nineteenth to the early-twentieth century. By reading novelists such as Herman Melville, Mark Twain, Pauline Hopkins, and Charlotte Perkins Gilman alongside a diverse collection of texts concerned with the mission of building character, including child-rearing guides, muscle-building magazines, libel and naturalization law, Scout handbooks, and success manuals, James B. Salazar uncovers how the cultural practices of representing character operated in tandem with the character-building strategies of social reformers. His innovative reading of this archive offers a radical revision of this defining category in U.S. literature and culture, arguing that character was the keystone of a cultural politics of embodiment, a politics that played a critical role in determining-and contesting-the social mobility, political authority, and cultural meaning of the raced and gendered body.