Originally published in 1981, this book examines why and how textual difficulty became a norm of modernist literature and questions how we can begin to account for the forms of obscurity and difficulty which developed in the late 19th Century and which became so important to modernism. The author argues that the decline of realism entailed the growth of ‘symptomatic’ or ‘subtextual’ reading which tended to treat fiction as compromised autobiography. This kind of reading left the author dangerously isolated and exposed in the midst of a newly sophisticated public. Within this general cultural perspective, the book traces the private anxieties that led George Meredith, Joseph Conrad and Henry James to conceal themselves within their complex and resistant fictions. It discusses opacity in the texts themselves – embarrassment and shame in Meredith; ‘engimas’ in Conrad; and the fear of vulgarity and knowledge in Henry James.

Argues for a life based on humility, service, and sacrifice instead of the accepted worldview of a life valuing fame and recognition.

Lauren and her friends visit an amusement park, Hydro World, located in the Mojave Desert on its opening day. The park is advanced beyond anything Lauren could have imagined-state of the art in a technology that allowed its builders to create whole enclosed ecosystems, mimicking a natural world lost to environmental decay. Then the Jade Fall happens, an enormous green meteor makes landfall, exploding into blinding emerald light. When the light fades, Lauren has survived, and so has Hydro World, but as she looks around, only two of her friends, Bobby and Lisa, are there-everyone else has vanished. Lauren and her friends meet more survivors, and it seems only a fraction of parkgoers survived the Jade Fall. Lauren attempts to lead the survivors out of Hydro World, assisted by the park's central computer, which goes by the name Leviathan. Soon they find the world around them has been altered-often in seemingly impossible ways. Hydro World has become a place where water can burn, gravity can change, and more. In the gloom of the desolate park, new life begins to assert itself. Some are benignly beautiful, but others are unspeakable abominations with too many eyes and too many mouths. Worse for Lauren, she slowly becomes aware of her own impossible changes to her body, developing frightening powers which she tries to keep hidden from her fellow survivors-at first. With extreme power the others lack, she balances on the edge of survival and becoming yet another of Hydro World's monsters. "I'm afraid of the things I can hear, the things I can do. And most of all, I'm afraid that when I'm in the moment doing those things, I'm not afraid at all. I'm afraid that I love it."

When Intellectual Impostures was published in France, it sent shock waves through the Left Bank establishment. When it was published in Britain, it provoked impassioned debate. Sokal and Bricmont examine the canon of French postmodernists - Lacan, Kristeva, Baudrillard, Irigaray, Latour, Virilio, Deleuze and Guattari - and systematically expose their abuse of science. This edition contains a new preface analysing the reactions to the book and answering some of the attacks.

“A necessary manual for those interested in the perpetuation, and the possibilities, of good English prose.”—Harper’s Magazine “[Lanham’s] style is notable for its audacity, liveliness, and grace.”—The Times Literary Supplement “The most applicably provocative book on the subject of prose style available. Imperative reading for all teachers and students of writing.”—Choice This humorous and accessible classic on style calls for the return of wordplay and delight to writing instruction. Richard Lanham argues that many tomes on writing, with their trio of platitudes—clarity, plainness, sincerity—lie “upon the spirit like wet cardboard.” "People seldom write to be clear. They have designs on their fellow men. Pure prose is as rare as pure virtue, and for the same reasons…The Books [Lanham’s term for misguided composition textbooks], written for a man and world yet unfallen, depict a ludicrous process like this: 'I have an idea. I want to present this gift to my fellow man. I fix this thought clearly in mind. I follow the rules. Out comes a prose that gift-wraps thought in transparent paper.' If this sounds like a travesty, it’s because it is one. Yet it dominates prose instruction in America."—from Chapter 1

This book examines the links between the unprecedented visual inventiveness of the Romantic period in Britain and eighteenth-century theories of the sublime. Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), in particular, is shown to have directly or indirectly challenged visual artists to explore not just new themes, but also new compositional strategies and visual media such as panoramas and book illustrations, by arguing that the sublime was beyond the reach of painting. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and drawing attention to the process of artistic production itself, rather than the finished artwork.

In this book, Curtis Gruenler proposes that the concept of the enigmatic, latent in a wide range of medieval thinking about literature, can help us better understand in medieval terms much of the era’s most enduring literature, from the riddles of the Anglo-Saxon bishop Aldhelm to the great vernacular works of Dante, Chaucer, Julian of Norwich, and, above all, Langland’s Piers Plowman. Riddles, rhetoric, and theology—the three fields of meaning of aenigma in medieval Latin—map a way of thinking about reading and writing obscure literature that was widely shared across the Middle Ages. The poetics of enigma links inquiry about language by theologians with theologically ambitious literature. Each sense of enigma brings out an aspect of this poetics. The playfulness of riddling, both oral and literate, was joined to a Christian vision of literature by Aldhelm and the Old English riddles of the Exeter Book. Defined in rhetoric as an obscure allegory, enigma was condemned by classical authorities but resurrected under the influence of Augustine as an aid to contemplation. Its theological significance follows from a favorite biblical verse among medieval theologians, “We see now through a mirror in an enigma, then face to face” (1 Cor. 13:12). Along with other examples of the poetics of enigma, Piers Plowman can be seen as a culmination of centuries of reflection on the importance of obscure language for knowing and participating in endless mysteries of divinity and humanity and a bridge to the importance of the enigmatic in modern literature. This book will be especially useful for scholars and undergraduate students interested in medieval European literature, literary theory, and contemplative theology.