Renunciation as a creative force in the careers of writers, philosophers, and artists is the animating idea behind Ross Posnock’s new book. Taking up acts of abandonment, rejection, and refusal that have long baffled critics, he shows how renunciation has reframed the relationship of artists and intellectuals to society in productive and unpredictable ways. In a work of remarkable synthesis that includes traditions and genres from antiquity to postmodernity, Posnock discovers connections among disparate figures ranging from Lao Tzu to Dave Chappelle and Bob Dylan. The thread running through these acts of renunciation, he argues, is an aesthetic and ethical resistance to the demand that one’s words and actions be straightforward and immediately comprehensible. Modern art in particular valorizes the nonconceptual and the intuitive, seeking to make silence articulate and incompletion fertile. Renouncers reject not only artistic and scholarly conventions but also the public roles that attend them. Wittgenstein, Rimbaud, and Glenn Gould brazenly flouted professional and popular expectations, demanding that philosophy, poetry, music play by new rules. Emerson and Nietzsche severed all institutional ties, while William James waged a guerrilla campaign from his post at Harvard against what all three considered to be the enemy: the pernicious philosophical insistence on rationality. Posnock also examines renunciations in light of World War II—the veterans J. D. Salinger and George Oppen, and the Holocaust survivor Paul Celan—while a fourth cluster includes the mystic Thomas Merton and the abstract painters Ad Reinhardt and Agnes Martin.

A study of how asceticism was promoted through Biblical interpretation, Reading Renunciation uses contemporary literary theory to unravel the writing strategies of the early Christian authors. Not a general discussion of early Christian teachings on celibacy and marriage, the book is a close examination, in the author's words, of how "the Fathers' axiology of abstinence informed their interpretation of Scriptural texts and incited the production of ascetic meaning." Elizabeth Clark begins with a survey of scholarship concerning early Christian asceticism that is designed to orient the nonspecialist. Section Two is organized around potentially troubling issues posed by Old Testament texts that demanded skillful handling by ascetically inclined Christian exegetes. The third section, "Reading Paul," focuses on the hermeneutical problems raised by I Corinthians 7, and the Deutero-Pauline and Pastoral Epistles. Elizabeth Clark's remarkable work will be of interest to scholars of late antiquity, religion, literary theory, and history.

Renunciation as a creative force in the careers of writers, philosophers, and artists is the animating idea behind Ross Posnock’s new book. Taking up acts of abandonment, rejection, and refusal that have long baffled critics, he shows how renunciation has reframed the relationship of artists and intellectuals to society in productive and unpredictable ways. In a work of remarkable synthesis that includes traditions and genres from antiquity to postmodernity, Posnock discovers connections among disparate figures ranging from Lao Tzu to Dave Chappelle and Bob Dylan. The thread running through these acts of renunciation, he argues, is an aesthetic and ethical resistance to the demand that one’s words and actions be straightforward and immediately comprehensible. Modern art in particular valorizes the nonconceptual and the intuitive, seeking to make silence articulate and incompletion fertile. Renouncers reject not only artistic and scholarly conventions but also the public roles that attend them. Wittgenstein, Rimbaud, and Glenn Gould brazenly flouted professional and popular expectations, demanding that philosophy, poetry, music play by new rules. Emerson and Nietzsche severed all institutional ties, while William James waged a guerrilla campaign from his post at Harvard against what all three considered to be the enemy: the pernicious philosophical insistence on rationality. Posnock also examines renunciations in light of World War II—the veterans J. D. Salinger and George Oppen, and the Holocaust survivor Paul Celan—while a fourth cluster includes the mystic Thomas Merton and the abstract painters Ad Reinhardt and Agnes Martin.

This is the first monograph-length study in English of Kamo no Chōmei, one of the most important literary figures of medieval Japan. Drawing upon a wide range of writings in a variety of genres from the Heian and Kamakura periods, Pandey focuses on the terms kyōgen kigo (wild words and fancy phrases), shoji soku nehan (samsara is nirvana), hōben (expedient means), and suki (single-minded devotion to an art). She shows how these terms deployed by writers in an attempt to reconcile literary and artistic activities with a commitment to Buddhism. By locating Chōmei within this broad context, the book offers an original reading of his texts, while at the same time casting a light upon intellectual preoccupations that were central to the times. Writing and Renunciation in Medieval Japan is an important contribution to a growing body of work that challenges the rigid distinction between the religious and literary—a distinction that would have made little sense to medieval writers, many of whom were poets as well as priests—and sheds light on the particular ways in which a religio-aesthetic tradition came to be articulated in medieval Japan. Through an examination of records left by Chōmei's contemporaries, the book also traces the life of Chōmei, particularly his activities as a court poet and the circumstances that led to his taking the tonsure.

Through the eventful life of a Himalayan Buddhist teacher, Khunu Lama, this study reimagines cultural continuity beyond the binary of traditional and modern. In the early twentieth century, Khunu Lama journeyed across Tibet and India, meeting Buddhist masters while sometimes living, so his students say, on cold porridge and water. Yet this elusive wandering renunciant became a revered teacher of the Fourteenth Dalai Lama. At Khunu Lama’s death in 1977, he was mourned by Himalayan nuns, Tibetan lamas, and American meditators alike. The many surviving stories about him reveal significant dimensions of Tibetan Buddhism, shedding new light on questions of religious affect and memory that reimagines cultural continuity beyond the binary of traditional and modern. In Renunciation and Longing, Annabella Pitkin explores devotion, renunciation, and the teacher-student lineage relationship as resources for understanding Tibetan Buddhist approaches to modernity. By examining narrative accounts of the life of a remarkable twentieth-century Himalayan Buddhist and focusing on his remembered identity as a renunciant bodhisattva, Pitkin illuminates Tibetan and Himalayan practices of memory, affective connection, and mourning. Refuting long-standing caricatures of Tibetan Buddhist communities as unable to be modern because of their religious commitments, Pitkin shows instead how twentieth- and twenty-first-century Tibetan and Himalayan Buddhist narrators have used themes of renunciation, devotion, and lineage as touchstones for negotiating loss and vitalizing continuity.

"Traveling in New Mexico in 1971, Will George converts to Bhakti Dharma, a new religious movement influenced by Hinduism and Sikh tradition. Returning to his home in Minnesota, he renounces his previous life, provoking a crisis for everyone in his family. Peter, Will's older brother, is a graduate student at the University of Chicago who studies early Christian asceticism partly to understand his brother's devotion. He gains insight into kundalini yoga, gender roles in the ashram, the guru's charisma, and events such as Jonestown and controversies about Hare Krishna. In Thailand Peter has a profound encounter during a Buddhist meditation retreat. Meanwhile, Will's religious search continues in India, where he dies in suspicious circumstances. Peter retraces his brother's steps to investigate his death and wrestles with what it means to be his brother's keeper. The developing relationship between the two brothers dramatizes the theme of renunciation, as expressed both in explicit religious vows and in other choices they make. Acts of renunciation reveal a longing for sacrifice and self-transcendence, and sometimes also a dangerous and destructive urge. This novel explores how family relationships and religious commitments conflict, intertwine, and shape each other. "

"In the early twentieth century, Khunu Lama wandered like a beggar across Tibet and India, meeting Buddhist masters and living, so his students say, on cold porridge and water. Yet this ragged beggar-yogi became a revered teacher of the current Fourteenth Dalai Lama. At his death in 1977, he was mourned by Himalayan nuns, Tibetan lamas, and American meditators alike. The myriad surviving stories about Khunu Lama reveal unexpected forms of Tibetan Buddhism, shedding new light on questions of secularism, religion, and what it means to be modern. In Beggar Modern, Annabella Pitkin explores the emotionally charged Tibetan Buddhist imaginaries of renunciation, devotion, and the teacher-student lineage relationship as resources for Tibetan Buddhist approaches to modernity. By examining narrative accounts of the life of a remarkable twentieth-century Himalayan Buddhist and focusing on his remembered identity as a renunciant bodhisattva, Pitkin illuminates Tibetan and Himalayan practices of memory, reinvention, and mourning. Refuting longstanding caricatures of Tibetan Buddhist communities as unable to be modern because of their religious commitments, Pitkin shows instead how twentieth- and twenty-first-century Tibetan Buddhists have used precisely the cultural resources that connect them to their past as vital tools for creating new futures"--