Mogadishu, 1993. Paul is a Canadian photojournalist who is about to take a picture that will win him the Pulitzer Prize. Princeton, the present day, Dan is an American writer who is struggling to finish his play about ghosts. Both men live worlds apart but a chance encounter over the airwaves sparks an extraordinary friendship that sees them journey from some of the most dangerous places on earth to the depths of the human soul.Flying from Kabul to the Canadian High Arctic, The Body of an American sees two actors jump between more than thirty roles in an exhilarating new form of documentary drama. It urgently places these two men’s battles – both public and private –against a backdrop of some of the world’s most iconic images of war. The Body of an American is the recipient of the 2013 Edward M. Kennedy Prize for Drama Inspired by American History. It also received the PEN Center USA Award for Drama and the L. Arnold Weissberger Award, and premiered at Portland Center Stage in 2012, directed by Bill Rauch. The play was the recipient of the McKnight National Residency & Commission from the Playwrights’ Center, as well as a Sundance Institute Time Warner Storytelling Fellowship and a TCG Future Collaborations Grant. For further information and resources on this play, visit the Edward M Kennedy website: http://kennedyprize.columbia.edu/winners/2013/obrien/

A reflection on the metaphor of the body politic throughout American history

A reflection on the metaphor of the body politic throughout American history

Fictions of Finance at the End of an American Century explores how an economy determines the language of those who live among its imperatives—and how it makes available to them the stories that they can and cannot tell, and the manner of their telling. Read closely, fictional narrative may expose the historical structures that determine literary language use, and that of language more generally. The study, the fourth in a quartet of studies addressing the emergence and decline of a Fordist regime of capitalist accumulation, offers an account of 'the sub-semantic whispering' that haunts the literature of the financial turn—which is to say, an account of how the complexities of words and their histories register an expanding industrial economy's organizing contradictions and failures. Reading in the light of deindustrialization and the rise of US finance capital after 1973, it deploys and elaborates on a materialist theory of language that explains how syntactic as well as semantic structures register a financializing economy's core contradictions, those associated particularly with debt, risk, and volatility. The volume listens for the under-heard syntactical breaks that punctuate language under the global hegemony of finance, breaks that express the unuttered in all utterance, taking as its exemplary texts primarily works by Bret Easton Ellis, Jayne Anne Phillips, and David Foster Wallace.

Reprint of the original, first published in 1857. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.