What is the solution to human angst and nothingness, the gnawing emptiness and frustration with the lim-its and fragility of this present existence? After reviewing the work of Sren Kierkegaard, Friedrich Nietzsche, Martin Heidegger, and Jean Paul Sartre on this question, this work argues that the proper re-sponse must be metaphysical metanarrative, a transcendent metaphysical metanarrative that is the ground of all that is, yet a metaphysical metanarrative that makes the fullness of meaning available and apprehen-sible in physical experience. This metanarrative, this work asserts, is the logos, the ultimate referent prin-ciple of the ancient Greeks and, according to Christianity, the God-man Jesus Christ, the eternal become present in present experience. Because the logos constitutes transcendence in human form, it recognizes the beauty of existential experience even as it underscores the necessity of transcendence for temporal meaning. The logos as metaphysical metanarrative brings the worlds of time and eternity together, link-ing earth and the beyond in a seamless whole. It is the ultimate existential experience.

Metafiction has long been associated with the heyday of literary postmodernism-with a certain sense of irresponsibility, political apathy, or outright nihilism. Yet, if (as is now widely assumed) postmodernism has finally run its course, how might we account for the proliferation of metafictional devices in contemporary narrative media? Does this persistence undermine the claim that postmodernism has passed, or has the function of metafiction somehow changed? To answer these questions, Josh Toth considers a broad range of recent metafictional texts-bywriters such as George Saunders and Jennifer Egan and directors such as Sofia Coppola and Quentin Tarantino. At the same time, he traverses a diffuse theoretical landscape: from the rise of various new materialisms (in philosophy) and the turn to affect (in literary criticism) to the seemingly endless efforts to name postmodernism's ostensible successor. Ultimately, Toth argues that much contemporary metafiction moves beyond postmodern skepticism to reassert the possibility of making true claims about real things. Capable of combating a “post-truth” crisis, such forms assert or assume a kind of Hegelian plasticity; they actively and persistently confront the trauma of what is infinitely mutable, or perpetually other. What is outside or before a given representation is confirmed and endured as that which exceeds the instance of its capture. The truth is thereby renewed; neither denied nor simply assumed, it is approached as ethically as possible. Its plasticity is grasped because the grasp, the form of its narrative apprehension, lets slip.

Pope John XXIII called the Second Vatican Council so that the Church's doctrine might be "more widely known, more deeply understood, and more penetrating in its effects." However, since the close of the Council in 1965, the results are wanting. Rather than announcing the gospel boldly in the present age, the Church has been seemingly reduced to silence. How did she lose her voice? How did the structures of proclamation, intended to hand on the Catholic faith, devolve and even contribute to vaporizing a Catholic culture? Because He Has Spoken to Us traces such developments from fixed points drawn from the fluid theology of Karl Rahner to their postmodern condition--successive steps that usher in the crisis by subduing, dismissing, and silencing the tradition. This postconciliar anthropocentric structure can now be better understood, critiqued, and displaced by a Ratzingerian approach. Rather than embracing a "given" demanded by contemporary context, Ratzinger proposes the revelation of the Logos in Jesus Christ as the "given," the true object of Christian faith. His alternate proposal requires the courage to face the full scope of the Christian structure, accessed through the Church's tradition, and a willingness to proclaim the gospel personally and with humble confidence.

This book argues that David Foster Wallace failed to provide a response to the existential predicament of our time. Wallace wanted to confront despair through art, but he remained trapped, and his entrapment originates in the "existentialist contradiction": the impossibility of affirming the meaningfulness of life and an ethics of compassion while believing in free will. To substantiate this thesis, the analysis reads Wallace in conversation with the existentialist philosophers and writers who influenced him: Søren Kierkegaard, Fyodor Dostoevsky, Martin Heidegger, Jean-Paul Sartre, Albert Camus, and Ludwig Wittgenstein. It compares his non-fiction with the sociologies of Christopher Lasch, Zygmunt Bauman, Ulrich Beck and Elisabeth Beck-Gernsheim, and Anthony Giddens. And it finds inspiration in Giacomo Leopardi, Friedrich Nietzsche, and Emanuele Severino to conclude that the philosophy which pervades Wallace’s works entails despair and represents the essence of our civilization’s interpretation of the world.

Metafiction begins by surveying the state of contemporary fiction in Britain and America and explores the complex political, social and economic factors which influence critical judgment of fiction. The author shows how, as the novel has been eclipsed by the mass media, novelists have sought to retain and regain a wide readership by drawing on the themes and preoccupations of these forms. Making use of contemporary fiction by such writers as Fowles, Borges, Spark, Barthelme, Brautigan, Vonnegut and Barth, and drawing on Russian Formalist theories of literary evolution, the book argues that metafiction uses parody along with popular genres and non-literary forms as a way not only of exposing the inadequate and obsolescent conventions of the classic novel, but of stuggesting the lines along which fiction might develop in the future.

Are we being played? Is our understanding of the traditionally fixed and static concepts of philosophy based on an oversimplification? This book explores some of the theories of the self since Descartes, together with the rationalism and the empiricism that sustain these ideas, and draws some startling conclusions using Gadamer’s philosophical study of play as its starting point. Gadamer’s ludic theory, Sampson argues, reveals a dynamic of play that exists at the deepest level of philosophy. It is this dynamic that could provide a solution in relation to the Gadamer/Habermas hermeneutics debate and the Gadamer/Derrida relativism debate, together with a theory of totality. Sampson shows how ludic theory can be a game-changer in understanding the relationship between philosophy and literature, exploring the dynamic between the fictive and non-fictive worlds. These worlds are characterized simultaneously by sameness (univocity of Being) and difference (equivocity of Being). The book questions Heidegger’s idea that the univocity of Being is universal, instead maintaining that the relationship between the univocity of Being and equivocity of Being is real, and that ontological mediation is required to present them as a unified whole. Using the works of Shakespeare, Beckett and Wilde, Sampson contends that such a mediation, termed ‘the ludicity of Being’, takes place between literature and its audience. This literary example has profound implications not only for literature and its attendant theories but also for philosophy — in particular, ontology and hermeneutics.

The critique of Critical Pedagogy—in its current various trends and paths teaches me not only the shortcomings of various versions of Critical Pedagogy. No less important, it offers an invitation to a reflection on the limitations, costs, and open horizons of “critique” itself.