“What I wanted more than anything was to be standing beside Schmidt, in concert with Schmidt, at the foot of Saint Sebastian’s Abyss along with Schmidt, hands cupped to the sides of our faces, debating art, transcendence, and the glory of the apocalypse.” Former best friends who built their careers writing about a single work of art meet after a decades-long falling-out. One of them, called to the other’s deathbed for unknown reasons by a “relatively short” nine-page email, spends his flight to Berlin reflecting on Dutch Renaissance painter Count Hugo Beckenbauer and his masterpiece, Saint Sebastian’s Abyss, the work that established both men as important art critics and also destroyed their relationship. A darkly comic meditation on art, obsession, and the enigmatic power of friendship, Saint Sebastian’s Abyss stalks the museum halls of Europe, feverishly seeking salvation, annihilation, and the meaning of belief.

From the author of Reinhardt's Garden and Saint Sebastian's Abyss comes a breathless new novel of delirious obsession. Bereft after the death of his ailing wife, a retired professor has resumed his life's work—a book that will stand as a towering cathedral to Michel de Montaigne, reframing the inventor of the essay for the modern age. The challenge is the litany of intrusions that bar his way—from memories of his past to the nattering of smartphones to his son's relentless desire to make an electronic dance album. As he sifts through the contents of his desk, his thoughts pulsing and receding in a haze of caffeine, ghosts and grievances spill out across the page. From the community college where he toiled in vain to an artists' colony in the Berkshires, from the endless pleasures of coffee to the finer points of Holocaust art, the professor's memories churn with sculptors, poets, painters, and inventors, all obsessed with escaping both mediocrity and themselves. Laced with humor as acrid as it is absurd, Lesser Ruins is a spiraling meditation on ambition, grief, and humanity's ecstatic, agonizing search for meaning through art.

ONE OF LIT HUB'S MOST ANTICIPATED BOOKS OF 2023 • ESQUIRE's August 2023 Book Club Pick "If books are important to you because you're a reader or a writer, then how books are sold should be important to you as well. If it matters to you that your vegetables are organic, your clothes made without child labor, your beer brewed without a culture of misogyny, then it should matter how books are made and sold to you." With Amazon’s growing power in both bookselling and publishing, considering where and how we get our books is more important now than ever. The simple act of putting a book in a reader’s hands—what booksellers call handselling—becomes a catalyst for an exploration of the moral, financial, and political pressures all indie bookstores face. From the relationship between bookselling and white supremacy, to censorship and the spread of misinformation, to the consolidation of the publishing industry, veteran bookseller and writer Josh Cook turns a generous yet critical eye to an industry at the heart of American culture, sharing tips and techniques for becoming a better reader and, of course, recommending great books along the way.

In this work by St. Ambrose, St. Sebastian, a revered Christian figure, supports the martyrs Marcellian and Marcus as they face execution for their faith. Despite emotional pleas from their parents and spouses, who lament their impending deaths, Sebastian urges them to resist the temptations of earthly attachments and embrace the promise of eternal life. He emphasizes the fleeting nature of worldly pleasures and the eternal joys awaiting martyrs in heaven. The narrative culminates in a miraculous event where Zoe, the wife of Nicostratus, regains her speech after witnessing Sebastian's divine presence, further solidifying the faith of those around him.

Written soon before and in the middle of the Covid-19 pandemic, when theatre ground to a halt and spectatorship was suspended, this book takes stock of spectatorship as theatre’s living archive and affirms its value in the midst of the present crisis. Drawing from a manifold affective archive of performances and installations (by Marina Abramović, Ron Athey, Forced Entertainment, Socìetas Raffaello Sanzio, Blast Theory, LIGNA, Doris Salcedo, Graeme Miller, Lenz Rifrazioni, Cristina Rizzo, etc.), and expanding on the work of many theorists and scholars, such as Roland Barthes and Jacques Rancière, Giorgio Agamben and Alain Badiou, Nicholas Ridout and Alan Read, among others, the book focuses on the spectator as the subject, rather than the object, of investigation. This is the right time to remember their secret power and theorise their collective time in the theatre. This book is an archive of their adventure and a manifesto rooted in their potentiality. It boldly posits the spectator as the inaugurator of theatre, the surplus that survives it. The book will be of great interest to spectators all and sundry, to scholars and students of theatre and performance studies, of spectatorship and politics.