The figure of Hamlet haunts our culture like the Ghost haunts him. Arguably, no literary work, not even the Bible, is more familiar to us than Shakespeare’s Hamlet. Everyone knows at least six words from the play; often people know many more. Yet the play—Shakespeare’s longest—is more than “passing strange” and becomes deeply unfamiliar when considered closely. Reading Hamlet alongside other writers, philosophers, and psychoanalysts—Carl Schmitt, Walter Benjamin, Freud, Lacan, Nietzsche, Melville, and Joyce—Simon Critchley and Jamieson Webster consider the political context and stakes of Shakespeare’s play, its relation to religion, the movement of desire, and the incapacity to love.

Two bodies found by the banks of a flooded river. The authorities call it murder-suicide, but Marius Besshaven doesn’t agree. The man they’re blaming had too much to live for. And there’s the burned man. A man whose past--shadow and flame, abduction and torture--may hold the key to the investigation. Marius is obsessed with finding the truth--driven by the traumas of youth, the pathological need for definitive answers. His quest will plunge him into a deadly game of cat and mouse with a killer more isolated and sadistic than anyone ever suspected, a madman who may take from him all he holds dear and drive him into a realm of insanity from which he may never recover.

National Book Award Finalist Stay, Illusion, the much-anticipated volume of poems by Lucie Brock-Broido, illuminates the broken but beautiful world she inhabits. Her poems are lit with magic and stark with truth: whether they speak from the imagined dwelling of her “Abandonarium,” or from habitats where animals are farmed and harmed “humanely,” or even from the surreal confines of death row, they find a voice like no other—dazzling, intimate, startling, heartbreaking. Eddying between the theater of the lavish and the enigmatic, between the gaudy and the unadorned, Brock-Broido’s verse scours America for material to render unflinchingly the here and now. Grandeur devolves into a comic irony: “We have come to terms with our Self / Like a marmoset getting out of her Great Ape suit.” She dares the unexplained: “The wings were left ajar / At the altar where I’ve knelt all night, trembling, leaning, rough / As sugar raw, and sweet.” Each poem is a rebellious chain of words: “Be good, they said, and so too I was / Good until I was not.” Strange narratives, interior and exterior, make a world that is foreign and yet our own; like Dickinson, Brock-Broido constructs a spider-sibling, commanding the “silk spool of the recluse as she confects her eventual mythomania.” And why create the web? Because: “If it is written down, you can’t rescind it.”

As far back as we know, there have been individuals incapacitated by memories that have filled them with sadness and remorse, fright and horror, or a sense of irreparable loss. Only recently, however, have people tormented with such recollections been diagnosed as suffering from "post-traumatic stress disorder." Here Allan Young traces this malady, particularly as it is suffered by Vietnam veterans, to its beginnings in the emergence of ideas about the unconscious mind and to earlier manifestations of traumatic memory like shell shock or traumatic hysteria. In Young's view, PTSD is not a timeless or universal phenomenon newly discovered. Rather, it is a "harmony of illusions," a cultural product gradually put together by the practices, technologies, and narratives with which it is diagnosed, studied, and treated and by the various interests, institutions, and moral arguments mobilizing these efforts. This book is part history and part ethnography, and it includes a detailed account of everyday life in the treatment of Vietnam veterans with PTSD. To illustrate his points, Young presents a number of fascinating transcripts of the group therapy and diagnostic sessions that he observed firsthand over a period of two years. Through his comments and the transcripts themselves, the reader becomes familiar with the individual hospital personnel and clients and their struggle to make sense of life after a tragic war. One observes that everyone on the unit is heavily invested in the PTSD diagnosis: boundaries between therapist and patient are as unclear as were the distinctions between victim and victimizer in the jungles of Southeast Asia.

Pulitzer prize–winner Chris Hedges charts the dramatic and disturbing rise of a post-literate society that craves fantasy, ecstasy and illusion. Chris Hedges argues that we now live in two societies: One, the minority, functions in a print-based, literate world, that can cope with complexity and can separate illusion from truth. The other, a growing majority, is retreating from a reality-based world into one of false certainty and magic. In this “other society,” serious film and theatre, as well as newspapers and books, are being pushed to the margins. In the tradition of Christopher Lasch’s The Culture of Narcissism and Neil Postman’s Amusing Ourselves to Death, Hedges navigates this culture — attending WWF contests as well as Ivy League graduation ceremonies — exposing an age of terrifying decline and heightened self-delusion.

What is helpful about reading these types of quotes is that the more you can realize that everything is an illusion the better you can ignore everything and turn inward. One of the most significant aspects to this collection of quotes by the Sages is that in addition to pointing out that everything is a dreamlike illusion, the also point out in many of their quotes that upon Self Realization everything disappears. They also state that realizing that the world, etc. is an illusion is essential for Self Realization. The type is Palatino 15 for crisp clear easy reading. This book contains all of the quotes in Chapter (Step) Two from the book The Seven Steps to Awakening. Everything is an Illusion is Book Five in the Self Realization Series. One purpose of the Self Realization Series is to put just one category of quotes into a small book that has the advantage of making it easier to focus, meditate on, grasp and have insight into just one subject at a time. That makes the approach simple, easier and less complicated. The idea is to stay focused on just one subject until you have received everything you need to receive from that one subject. Most people go on to the next subject without ever having learned to apply to their lives the subject they are studying now. The Self Realization series of books are portable practice manuals aimed at helping sincere seekers of Self Realization master one Key to Self Realization at a time. The six titles in the Self Realization Series are: 1.Self Awareness Practice Instructions. 2.The Desire for Liberation. 3.The False self. 4.Inspiration and Encouragement on the Path to Self Realization. 5.Everything is an Illusion. 6.How Not to Get Lost in Concepts.

The newest collection from Nick Flynn, whose “songs of experience hum with immediacy” (The New York Times) Beginning with a poem called “Confessional” and ending with a poem titled “Saint Augustine,” Nick Flynn's I Will Destroy You interrogates the potential of art to be redemptive, to remake and reform. But first the maker of art must claim responsibility for his past, his actions, his propensity to destroy others and himself. “Begin by descending,” Augustine says, and the poems delve into the deepest, most defeating parts of the self: addiction, temptation, infidelity, and repressed memory. These are poems of profound self-scrutiny and lyric intensity, jagged and probing. I Will Destroy You is an honest accounting of all that love must transcend and what we must risk for its truth.