John Newman Edwards was a soldier, a father, a husband, and a noted author. He was also a virulent alcoholic, a duelist, a culture warrior, and a man perpetually at war with the modernizing world around him. From the sectional crisis of his boyhood and the battlefields of the western borderlands to the final days of the Second Mexican Empire and then back to a United States profoundly changed by the Civil War, Oracle of Lost Causes chronicles Edwards’s lifelong quest to preserve a mythical version of the Old World—replete with aristocrats, knights, damsels, and slaves—in North America. This odyssey through nineteenth-century American politics and culture involved the likes of guerrilla chieftains William Clarke Quantrill and “Bloody Bill” Anderson, notorious outlaws Frank and Jesse James, Confederate general Joseph Orville Shelby, and even Emperor Maximilian I and Empress Charlotte of Mexico. It is the story of a man who experienced Confederate defeat not once but twice, and how he sought to shape and weaponize the memory of those grievous losses. Historian Matthew Christopher Hulbert ultimately reveals how the Civil War determined not only the future of the vast West but also the extent to which the conflict was part of a broader, international sequence of sociopolitical uprisings.

Oracle of Lost Causes tells the life story of John Newman Edwards, a Confederate soldier and political journalist perpetually at war with the modernizing world around him, who sought to weaponize the memory of Confederate defeat.

The renowned philosophical sharpshooter looks for the kernel of truth in the fascist politics of the past—offering an adrenaline-fueled manifesto for universal values. Is global emancipation a lost cause? Are universal values outdated relics of an earlier age? In fear of the horrors of totalitarianism, should we submit ourselves to a miserable third way of economic liberalism and government-as-administration? In this combative major work, philosophical sharpshooter Slavoj Žižek takes on the reigning ideology with a plea that we should re-appropriate several “lost causes”—and look for the kernel of truth in the “totalitarian” politics of the past. Examining Heidegger’s seduction by fascism and Foucault’s flirtation with the Iranian Revolution, he suggests that these were the “right steps in the wrong direction.” He argues that while the revolutionary terror of Robespierre, Mao, and the Bolsheviks ended in historic failure and monstrosity, this is not the whole story. There is, in fact, a redemptive moment that gets lost in the outright liberal-democratic rejection of revolutionary authoritarianism and the valorization of soft, consensual, decentralized politics. Žižek claims that, particularly in light of the forthcoming ecological crisis, we should reinvent revolutionary terror and the dictatorship of the proletariat in the struggle for universal emancipation. We need to courageously accept the return to this Cause—even if we court the risk of a catastrophic disaster. In the words of Samuel Beckett: “Try again. Fail again. Fail better.”

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What if we didn't always historicize when we read Victorian fiction? Lost Causes shows that Victorian writers frequently appear to have a more supple and interesting understanding of the relationship between history, causality, and narrative than the one typically offered by readers who are burdened by the new historicism. As a return to these writers emphasizes, the press of modern historicism deforms Victorian novels, encouraging us to read deviations from strict historical accuracy as ideological bad faith. By contrast, Jason B. Jones argues through readings of works ranging from The French Revolution to Middlemarch that literature's engagement with history has to be read otherwise. Perhaps perversely, Lost Causes suggests simultaneously that psychoanalysis speaks pressingly to the vexed relationship between history and narrative, and that the theory is neither a- nor anti-historical. Through his readings of Victorian fiction addressing the recent past, Jones finds in psychoanalysis not a set of truths, but rather a method for rhetorical reading, ultimately revealing how its troubled account of psychic causality can help us follow literary language's representation of the real. Victorian narratives of the recent past and psychoanalytic interpretation share a fascination with effects that persist despite baffling, inexplicable, or absent causes. In chapters focusing on Thomas Carlyle, Charles Dickens, Charlotte Brontë, and George Eliot, Lost Causes demonstrates that history can carry an ontological, as well as an epistemological, charge--one that suggests a condition of being in the world as well as a way of knowing the world as it really is. From this point of view, Victorian fiction that addresses the recent past is not a failed realism, as it is so frequently claimed, but rather an exploration of possibility in history.