The three works considered in Hierarchy and Mutuality in Paradise Lost, Moby-Dick and The Brothers Karamazov display a striking overlap in their concern with hierarchy and mutuality as parallel and often intersecting way of how human beings relate to each other and to divine forces in the universe. All three contain adversarial protagonists whose stature often commands admiration from audiences less ready to confront their motives and deeds than to be swayed by their verbal harangues. Why the quest for personal power should disturb the serenity of mutual love with such compelling force is an issue that Milton, Melville and Dostoevsky address with varying degrees of self-consciousness. In their texts the seeds of disaster seem to sprout in both spiritual and barren soil, sometimes nurtured by a hierarchy that gave them birth, at others in reaction against a hierarchy that would stifle their energy. The purpose of this study is to analyze the origins and the consequences of such tensions.

"[This] magnificent critical survey, with its inherent respect for both the 'Westt's mainstream high culture' and the 'radically changing world' of the 1990s, offers a new breakthrough for lay and scholarly readers alike....Allows readers to grasp the big picture of Western culture for the first time." SAN FRANCISCO CHRONICLE Here are the great minds of Western civilization and their pivotal ideas, from Plato to Hegel, from Augustine to Nietzsche, from Copernicus to Freud. Richard Tarnas performs the near-miracle of describing profound philosophical concepts simply but without simplifying them. Ten years in the making and already hailed as a classic, THE PASSION OF THE WESERN MIND is truly a complete liberal education in a single volume.

Weird Mysticism identifies and evaluates a new category of theoretical inquiry by showing the influence of speculative writing on three intersecting critical categories: horror fiction, apophatic mysticism, and philosophical pessimism. Exploring the work of Thomas Ligotti, Georges Bataille, and E. M. Cioran, Baumgartner argues that these “weird mystics” employ an innovative mode of negative writing that seeks to merge new conceptions of reality. While exploring perennial questions about “the absolute,” the Outside, and other philosophical concepts, these authors push the limits of representation, experimenting with literary form, genre-bending, and aphoristic discourse. As their works reveal, the category of weird mysticism both conjoins and obscures the link between traditional mysticism and philosophical horror fiction, with weirdness itself being the central magnet that draws the seemingly disparate realms of horror fiction, philosophy, and mysticism together. Highlighting the theoretical stakes of the horror genre, Baumgartner’s study reveals how the mystical potentially recuperates the limits of philosophical thinking, enabling reflection on—and possibly challenging—the limits of human understanding.

In this profound and disturbing exploration of the nature of guilt and vengeance and the power of evil, Israeli Nazi-hunters, 30 years after the end of World War II, find a silent old man deep in the Amazon jungle who turns out to be Adolf Hitler.

When Henry Hazlitt published this exceedingly rare book, he was finishing up a three-year position at The Nation as literary critic, and preparing to accept the position as H.L. Mencken's successor at American Mercury. He was struggling with integrating his two main interests: literary criticism and economics. In economics, value is subjective, whereas the key goal in literary criticism is the discovery of something approximating objective value. The text of this book reflects that struggle in the form of a trialogue. Hazlitt has his characters debate the question of literary value, and pushes forward the proposition that the value of literature is discerned and revealed through the operation of the "social mind." So he ends up rejecting relativism while avoiding mistakes in economic theory. A fascinating study, brilliantly conceived and rendered by a master. As an extra bonus here, Hazlitt offers a postscript on the rise of Marxism in literary criticism. He shows how preposterous it is for Marxism to reject the main corpus of Western litertaure as hopelessly bourgeois, even while Marx himself read all the great works in his leisure. This is a highly significant essay becuase it was probably the first attack on Marxist literary deconstructionism ever written!

"No lies" The Hurricane Notebook, found on a Wilmington beach after a storm, contains the thoughts, artistic experiments, vignettes, and recorded dialogues of an unknown author calling herself "Elizabeth M." Its entries record the inner life of a soul in crisis, perpetually returning to the moment she learned of her sister's suicide and making an unrelenting attempt to understand herself and the human condition. Whether engaged in introspective soul-searching, or reconstructing her discussions with friends, mentors, and acquaintances, she challenges herself to accept "No lies" that would mask or hide her own responsibility for evil in the world. The notebook ends abruptly; having traversed subjects as diverse as God, childhood, chess, philosophy, ballet, self-hood, conscience, guilt, and friendship, Elizabeth's questions are left uncertain and hanging in the air, just like her hope that she might find "one person on earth who understands me," and unanswered, like her plea "Having understood me, would you grieve on my behalf, my friend?"