What is a woman? What is a man? How do they—and how should they—relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andréas Salomé, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light:Terrence Malick, James Coleman, and Gerhard Richter.

Examines representations of sexual violence in modern Hebrew literature, focusing on the ways in which sexual aggression relates to Zionism, gender, ethnicity, and disability.

A collection of articles by Stephen Jay Gould, Leon Kass, William Safire, Peter Steinfels, and other scientists, philosophers, bioethicists, theologians, and law professors on the ethics of human cloning.

In My Flesh Is Meat Indeed, Meredith J. C. Warren shows that the "bread of life" discourse in John 6:51c-58 bears no Eucharistic overtones. Instead, John plays on Mediterranean cultural expectations about the nature of heroic sacrifice and the sacrificial meal that established the identification of a hero with a deity. Warren traces a literary trope in which a hero or heroine'’s antagonistic relationship with a deity is resolved through the hero's sacrifice. Against this milieu, Jesus' insistence that his flesh be eaten demonstrates the Christology of the Gospel.

Tim Cahill has clambered up Mount Roraima in the Guyana highlands, searching for the site of Arthur Conan Doyle's Lost World. He's dined on baked turtle lung in the desolate northeast of Australia and harvested poisonous sea snakes in the Philippines. He's watched a wrestling match between a shark and an "underwater zombie" during a horror movie shoot off the coast of Mexico. In this classic collection of adventure travel writing, Tim Cahill writes evocatively and often hilariously about these close encounters. He also briefs us on gorilla etiquette, porcupine vendettas, and the loathsome fate awaiting those who disturb ruins in the jungles of the Amazon. JAGUARS RIPPED MY FLESH is an exhilarating roller-coaster of a book, by a writer who gives new meaning to the expression "going to extremes".