This book offers an analysis of the ways a linked set of ethico-political concepts—responsibility, rights, freedom, equality, and justice—might be re-thought, not simply jettisoned or reactively defended, in view of the linguistic deconstruction of their underlying principle, the individual human subject. In a series of readings of contemporary thinkers (notably Foucault and Derrida) and their philosophical antecedents (Marx, Nietzsche, Sade), the author argues that an encounter with the difficulties of reading (literary) language, precisely what resists the immediate comprehension or mastery of a subject, enables in turn a new thought of rights and responsibility. What literature teaches us about politics is that the absence of foundations, whether in the world or in the subject, far from being its downfall, is its very condition of possibility: because a foundation or a final resolution is lacking, we have politics and ethics and their predicaments. Like the reading of a text, which is never quite done, any responsibility worthy of the name cannot rest in the good conscience of its certain accomplishment; likewise, the assertion of rights can never be circumscribed or guaranteed—hence the ongoing necessity of the ethical and the political. The book is driven by a sense that literary and theoretical questions, and the ideas or concepts they appeal to or provoke, play a critical role in the way we think about and experience politics, but that literary critics and theorists do far too little to understand those links or make them matter outside a very restricted sphere. The author seeks to harness this specialized discourse in order to consider what ethical and political thinking might learn from literature and its theorists.

Not unlike his literary forebearers Donald Barthelme and Robert Coover, Damian Dressick brings us a crackling series of dispatches fresh from the postmodernist front. This daring gathering of brief, innovative stories tantalizes the intellect nearly as much as it illuminates the human heart. Drawing from his quiver of flash fictions, prose poems, lists, pie charts and micros, Dressick's narratives are fully engaged with the wild disorder that everyday feels more and more like the sine qua non of our fractured now. Meet meth-addicted grizzly bears, a coal mining Jesus, grieving alcoholic parents, and murderous villagers whose only speech is culinary in this fleeting edge tour de force....Fables of the Deconstruction. PRAISE FOR FABLES OF THE DECONSTRUCTION "This collection of sixty-three stories is as rich and varied as a patisserie, as nasty and brutish as a Japanese architect in the mid-sixties, as delicate as the swift-moving scents in the coastal air at midnight. To call these stories short-shorts or "flash fiction" is to do them a disservice. While some are indeed short, and many are pleasantly flashy, every one hits home with the weight of boxer's punch, every one is more beautiful, and more fun, than the last. This is a first rate performance by an artist to be reckoned with." -Frederick Barthelme, author of There Must Be Some Mistake "Like Donald Barthelme, Damian Dressick finds himself on the leading edge of the junk phenomena. The thingness of things falls apart delightfully right before our dilated eyes. Fun for the whole goddamn nuclear family." -Michael Martone, author of Michael Martone "Fables of the Deconstruction is funny, sad, dreamy, and brutal. The stories here veer off in strange directions, happily disobedient to the conventions that plague so much of our current grindingly cautious literature. This is a credit to Damian Dressick, an excitable and exciting new writer who will probably be a big deal someday and, in fact, if you check your heart, already is." -Steve Almond, author of Rock and Roll Will Save Your Life "Damian Dressick writes with gusto and sly humor, and Fables of the Deconstruction introduces a bold and robust new voice of impressive range. A heady debut." -Gary Lutz, author of The Complete Gary Lutz "Damian Dressick's Fables of the Deconstruction expertly explores the question: why not? Wandering through Dressick's terrain, you can leave your own (real) life behind for a while. Sit back and enjoy. This little book will make you both happy and sad-with footnotes." -Sherrie Flick author of I Call This Flirting and Reconsidering Happiness

Reprint of an internationally praised collection of essays by a team of cutting-edge La Fontaine scholars.

Edwin Hatch provided a colorful portrait of the religious world to which Justin Martyr belonged: "The main subject-matter of . . . literary education [amongst the pagans] was the poets. . . . They were read as we read the Bible. They were committed to memory. The minds of men were saturated with them. A quotation from Homer or from a tragic poet was apposite on all occasions and in every kind of society" (The Influence of Greek Ideas on Christianity, 1957). So when some of these pagans converted to Christianity in Justin's day, is it reasonable to assume that they simply "forgot" these mythical narratives in which they had been reared from childhood? Re-appropriating "Marvelous Fables" sets out to argue that this was hardly the case. Rather, Justin in 1 Apology can be seen taking full advantage of this mythical framework that still loomed large in the minds of fledgling Christian believers and students in his care--masterfully re-appropriating this popular form of religious discourse for the purpose of solidifying their newfound faith.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

Mark Anthony Jarman is one of Canada’s most original and compelling writers of short fiction. My White Planet is his latest collection of fourteen new stories, many of which have previously won or been short-listed for literary magazine awards. Jarman’s use of language and metaphor is unique in the Canadian literary pantheon. With extraordinary linguistic energy, he pushes the boundaries of fiction and story-telling. Every sentence reverberates with subtle meaning and every reading of a Jarman story brings out ever deeper layers of complexity and nuance. Here is a protean writer who bends form and enters into worlds and people with panache and a verve that is breath-taking. The range of his fiction is stunning: troops undertake a nightmarish march following Custer’s last stand; a father’s dogs tear apart his son and he is accused of cowardice and neglect; seven marooned men at a remote polar station save the life of a naked young woman; domestic squabbles and infidelity abound amidst west coast chainsaws and floatplanes; a dropout skateboarder falls off a railway bridge and drowns in the river; a city bus ride ends up crossing the entire country; a time traveler witnesses Louis Riel’s botched execution of Thomas Scott; a young woman removes her bra from under her shirt and her male friend is paralysed by possible meanings; an outsider plays old timer hockey in the wilds of New Brunswick; Victorian fashion is mixed up with the violent deaths of Custer, Louis Riel and Sitting Bull; a flight attendant is able to read passengers’ minds. A master of literary conceit and a hewer of breakneck language, Mark Anthony Jarman defies categorization and offers us instead a narrative freshness that surprises and offers up a world of wonders.