"In Spite of teh Dark Silence," presents a biographical perspective on the tragic life of the poet and chemist Jorge Cuesta. Cuesta was one of the founders of Los Contemporáneos, an influential twentieth-century literary movement. The poetic voice of Cuesta's verses can be heard throughout, offering insights into the creative and destructive forces and impulses in his work that eventually led to a mental ward?and a shocking suicide at thirty-eight.

Spite angers and enrages us, but it also keeps us honest. In this provocative account, a psychologist examines how petty vengeance explains human thriving. Spite seems utterly useless. You don't gain anything by hurting yourself just so you can hurt someone else. So why hasn't evolution weeded out all the spiteful people? As psychologist Simon McCarthy-Jones argues, spite seems pointless because we're looking at it wrong. Spite isn't just what we feel when a car cuts us off or when a partner cheats. It's what we feel when we want to punish a bad act simply because it was bad. Spite is our fairness instinct, an innate resistance to exploitation, and it is one of the building blocks of human civilization. As McCarthy-Jones explains, some of history's most important developments—the rise of religions, governments, and even moral codes—were actually redirections of spiteful impulses. A provocative, engaging read, Spite shows that if you really want to understand what makes us human, you can't just look at noble ideas like altruism and cooperation. You need to understand our darker impulses as well.

It’s Silence, Soundly, It’s Nothing, Seriously and It’s Absence, Presently, continue The ‘It’ Series published by Matador since The Book of It (2010). They constitute another stage in an artistic journey exploring the visual and audial dialectic of mark, word and image that began over 25 years ago. In their aesthetic form the books are a decentred trilogy united together in a new concept of The Bibliograph. All three present this new aesthetic object, which transcends the narrow limits of the academic bibliography. The alphabetical works also share a tripartite structure and identical length. The Bibliograph itself is characterised by its strategic place within each book as a whole as well as by the complex variations in meaning of the dominant motifs – nothing/ness, absence and silence – which recur throughout the alphabetical entries that constitute the elements of each text. It’s Nothing, Seriously, for example, addresses the amusing paradox that so much continues to be written today about – nothing! The aleatory character of the entries in the texts encourage the modern reader to reflect on each theme and to read them in a new way. The reader is invited as well to examine their various inter-textual relations across given conventional boundaries in the arts and sciences at several levels of physical, psychical & social reproduction.

Anxieties of Experience: The Literatures of the Americas from Whitman to Bolaño offers a new interpretation of US and Latin American literature from the nineteenth century to the present. Revisiting longstanding debates in the hemisphere about whether the source of authority for New World literature derives from an author's first-hand contact with American places and peoples or from a creative (mis)reading of existing traditions, the book charts a widening gap in how modern US and Latin American writers defined their literary authority. In the process, it traces the development of two distinct literary strains in the Americas: the "US literature of experience" and the "Latin American literature of the reader." Reinterpreting a range of canonical works from Walt Whitman's Leaves of Grass to Roberto Bolaño's 2666, Anxieties of Experience shows how this hemispheric literary divide fueled a series of anxieties, misunderstandings, and "misencounters" between US and Latin American authors. In the wake of recent calls to rethink the "common grounds" approach to literature across the Americas, the book advocates a comparative approach that highlights the distinct logics of production and legitimation in the US and Latin American literary fields. Anxieties of Experience closes by exploring the convergence of the literature of experience and the literature of the reader in the first decades of the twenty-first century, arguing that the post-Bolaño moment has produced the strongest signs of a truly reciprocal literature of the Americas in more than a hundred years.

Traumatic brain injury can interrupt without warning the life story that any one of us is in the midst of creating. When the author's fifteen-year-old son survives a terrible car crash in spite of massive trauma to his brain, she and her family know only that his story has not ended. Their efforts, Erik's own efforts, and those of everyone who helps bring him from deep coma to new life make up a moving and inspiring story for us all, one that invites us to reconsider the very nature of "self" and selfhood. Ruthann Knechel Johansen, who teaches literature and narrative theory, is a particularly eloquent witness to the silent space in which her son, confronted with life-shattering injury and surrounded by conflicting narratives about his viability, is somehow reborn. She describes the time of crisis and medical intervention as an hour-by-hour struggle to communicate with the medical world on the one hand and the everyday world of family and friends on the other. None of them knows how much, or even whether, they can communicate with the wounded child who is lost from himself and everything he knew. Through this experience of utter disintegration, Johansen comes to realize that self-identity is molded and sustained by stories. As Erik regains movement and consciousness, his parents, younger sister, doctors, therapists, educators, and friends all contribute to a web of language and narrative that gradually enables his body, mind, and feelings to make sense of their reacquired functions. Like those who know and love him, the young man feels intense grief and anger for the loss of the self he was before the accident, yet he is the first to see continuity where they see only change. The story is breathtaking, because we become involved in the pain and suspense and faith that accompany every birth. Medical and rehabilitation professionals, social workers, psychotherapists, students of narrative, and anyone who has faced life's trauma will find hope in this meditation on selfhood: out of the shambles of profound brain injury and coma can arise fruitful lives and deepened relationships. Keywords: narrative; selfhood; therapy; traumatic brain injury; healing; spirituality; family crisis; children

Taking place in Norway, Maine, Samantha is a typical high school loner. Although she prefers to be left alone she finds herself as the object of admiration for Henry, an often harassed fellow student, and even though she tries to maintain a distance, they are brought together by the one thing they have in common, an interest in the paranormal. Together, they team up to investigate a notorious host of ghostly activity, only to discover how dangerous the paranormal can be. At first, Samantha is the strong one, while Henry struggles to overcome his fear and prove himself as the person he believes Samantha wants. But their decision to explore a former ambulance station with a traumatic past acts as the catalyst for something that changes them both, and at the same time, brings tragedy to the town of Norway. This is the story of two teenagers caught up in the changes brought on by youth. At the same time, the two are dangerously consumed by their shared curiosity of all things unearthly, pushing them together, then driving them apart.

Reproduction of the original.