In Mourning Becomes the Law, Gillian Rose takes us beyond the impasse of post-modernism or 'despairing rationalism withour reason'. Arguing that the post-modern search for a 'new ethics' and ironic philosophy are incoherent, she breathes new life into the debates concerning power and domination, transcendence and eternity. Mourning Becomes the Law is the philosophical counterpart to Gillian Rose's highly acclaimed memoir Love's Work. She extends similar clarity and insight to discussions of architecture, cinema, painting and poetry, through which relations between the formation of the individual and the theory of justice are connected. At the heart of this reconnection lies a reflection on the significance of the Holocaust and Judaism. Mourning Becomes the Law reinvents the classical analogy of the soul, the city and the sacred. It returns philosophy, Nietzsche's 'bestowing virtue', to the pulse of our intellectual and political culture.

Mourning Becomes the Law is the philosophical counterpart to the late Gillian Rose's acclaimed memoir Love's Work. It presents a powerful and eloquent case against postmodernism, and breathes new life into the debates about power and domination, transcendence and eternity. Addressing topics such as architecture, cinema, painting, poetry, the Holocaust and Judaism, Gillian Rose enables us to connect ideas about the individual and society with theories of justice. This is philosophy for the nonphilosopher.

"In Mourning Becomes the Law, Gillian Rose takes us beyond the impasse of post-modernism or 'despairing rationalism without reason'. Arguing that the post-modern search for a 'new ethics' and ironic philosophy are incoherent, she breathes new life into the debates concerning power and domination, transcendence and eternity. Mourning Becomes the Law is the philosophical counterpart to Gillian Rose's highly acclaimed memoir Love's Work. She extends similar clarity and insight to discussions of architecture, cinema, painting and poetry, through which relations between the formation of the individual and the theory of justice are connected. At the heart of this reconnection lies a reflection on the significance of the Holocaust and Judaism. Mourning Becomes the Law reinvents the classical analogy of the soul, the city and the sacred. It returns philosophy, Nietzsche's "bestowing virtue", to the pulse of our intellectual and political culture."--Publisher.

A reinterpretation of thinkers from Benjamin and Rosenzweig to Simone Weil and Derrida Judaism and Modernity: Philosophical Essays challenges the philosophical presentation of Judaism as the sublime ‘other’ of modernity. Here, Gillian Rose develops a philosophical alternative to deconstruction and post-modernism by critically re-engaging the social and political issues at stake in every reconstruction.

Love’s Work is at once a memoir and a work of philosophy. Written by the English philosopher Gillian Rose as she was dying of cancer, it is a book about both the fallibility and the endurance of love, love that becomes real and lasting through an ongoing reckoning with its own limitations. Rose looks back on her childhood, the complications of her parents’ divorce and her dyslexia, and her deep and divided feelings about what it means to be Jewish. She tells the stories of several friends also laboring under the sentence of death. From the sometimes conflicting vantage points of her own and her friends’ tales, she seeks to work out (seeks, because the work can never be complete—to be alive means to be incomplete) a distinctive outlook on life, one that will do justice to our yearning both for autonomy and for connection to others. With droll self-knowledge (“I am highly qualified in unhappy love affairs,” Rose writes, “My earliest unhappy love affair was with Roy Rogers”) and with unsettling wisdom (“To live, to love, is to be failed”), Rose has written a beautiful, tender, tough, and intricately wrought survival kit packed with necessary but unanswerable questions.

Kate Schick locates the philosophy of Gillian Rose within wider discussions of contemporary political issues, such as trauma and memory, exclusion and difference, tragedy and messianic utopia. Schick argues that Rose brings a powerful and timely voice to

When the smiling King of Carnival is killed at Mardi Gras, policewoman Skip Langdon is on the case. She knows the upper-crust family of the victim and that it hides more than its share of glittering skeletons. But nothing could prepare her for the tangled web of clues and ancient secrets that would mean danger for her--and doom for the St. Amants.... "Smith is a gifted writer." THE WASHINGTON POST BOOK WORLD