This work takes the form of a conversation, an interview. An obsessive questioning back and forth builds up Blanchot's narrative, with its sense--shared with Kafka's famous "doorkeeper" parable--that behind each question lies the spooky possibility of a further, more imposing, more insoluble question. Thematically, powerlessness, inertia, insufficient speech, weariness, falling, faltering--everything tied to a negative or nonexistent value in ordinary discourse--is given value here by its being articulated, moved into writing and thought. What's insignificant or worthless gathers weight through its troubling persistence, its failure to disappear. The "endless" conversation of Blanchot's writing turns "fiction" toward an experience of listening--a far cry from the storytelling most fiction (still) takes itself to be.

The final book of the Bible, Revelation prophesies the ultimate judgement of mankind in a series of allegorical visions, grisly images and numerological predictions. According to these, empires will fall, the "Beast" will be destroyed and Christ will rule a new Jerusalem. With an introduction by Will Self.

A creative study of Maurice Blanchot’s theory of literary voice. In His Voice considers the idea of the neuter in Maurice Blanchot’s work, and seeks to work out through an exercise of literary impersonation, or ventriloquism, how and why Blanchot relied on this form. Neither active nor passive, the neuter expresses a kind of third voice beyond the command of the author, one that speaks paradoxically of what lies outside of speaking but nonetheless exerts an irrepressible influence on thought. The neuter is exilic, messianic, and fragmentary. Since it cannot be directly accounted for, Blanchot uses a number of indirect approaches—notably, myth—to announce the key elements of his view. Orpheus, Odysseus, and principally Narcissus figure his conception and elaborate the operation of giving voice. Through a distillation of Blanchot’s narrative and critical texts—focusing on the late works, The Step Not Beyond, and The Writing of the Disaster—and through an emphasis on performance, In His Voice enacts the event of writing in search of how author’s inscriptive reality appears in the world.

This book seeks to develop a novel approach to literature beyond the conventional divide between realism/formalism and history/aestheticism. It accomplishes this not only through a radical reassessment of the specificity of literature in distinction from one of its others--namely, philosophy--but above all by taking critical issue with the venerable concept of the "text" and its association with the artisanal techniques of weaving and interlacing. This conception of the text as an artisanal fabric is, the author holds, the unreflected presupposition of both realist, or historicist, and reflective, or "deconstructive," criticism. Gasch argues that "the scenes of production" within literary works, created by their authors yet independent of those authors' intentions, stage a work's own production in virtual fashion and thus accomplish for those works a certain ideal ontological status that allows for both historical endurance and creative interpretation. In Gasch 's construction of these scenes, in which literary works render visible within their own fabric the invisible conditions of their autonomous existence, certain images prevail: the fold, the star, the veil. By showing that these literary images are not simply the opposites of concepts, he not only puts into question the common opposition between literature and philosophy but shows that literary works perform a way of "argumentation" that, in spite of all its difference from philosophical conceptuality, is on a par with it. The argument progresses through close readings of literary works by Lautr amont, Nerval, de l'Isle Adam, Huysman, Flaubert, Artaud, Blanchot, Defoe, and Melville.

Proposes that a distinct strain of literary modernism emerged in Europe in response to historical catastrophe.

One week after Wendy Blight’s college graduation, she walked into her apartment to find a masked man holding a knife and waiting for her at the top of the stairs. The man spent an hour physically and sexually assaulting Wendy, leaving her changed forever. After this terrifying experience, she lived for years cocooned in a prison of fear, despair, and hopelessness. Finally, after years of searching and believing she had nowhere else to turn, she fell on her knees before God and poured out her tears, anger, and questions to Him. Wendy’s story is one of transformation from trauma to rebirth through the power of the Word of God. Through Hidden Joy in a Dark Corner, the reader will experience hope and the encouragement necessary to press forward to healing and restoration.