Modern history is haunted by the disasters of the century--world wars, concentration camps, Hiroshima, and the Holocaust--grief, anger, terror, and loss beyond words, but still close, still impending. How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster's infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

In the aftermath of disaster, literary and other cultural representations of the event can play a role in the renegotiation of political power. In Disaster Writing, Mark D. Anderson analyzes four natural disasters in Latin America that acquired national significance and symbolism through literary mediation: the 1930 cyclone in the Dominican Republic, volcanic eruptions in Central America, the 1985 earthquake in Mexico City, and recurring drought in northeastern Brazil. Taking a comparative and interdisciplinary approach to the disaster narratives, Anderson explores concepts such as the social construction of risk, landscape as political and cultural geography, vulnerability as the convergence of natural hazard and social marginalization, and the cultural mediation of trauma and loss. He shows how the political and historical contexts suggest a systematic link between natural disaster and cultural politics.

Kleinberg offers new insights into intellectual figures whose influence on modern French philosophy has been enormous, including some whose thought remains under-explored outside France.

"Terror, disaster, memory, selfhood, happiness . . . leave it to a poet to tackle the unthinkable so wisely and so wittily."* A literary guide to life in the pre-apocalypse, The Unreality of Memory collects profound and prophetic essays on the Internet age’s media-saturated disaster coverage and our addiction to viewing and discussing the world’s ills. We stare at our phones. We keep multiple tabs open. Our chats and conversations are full of the phrase “Did you see?” The feeling that we’re living in the worst of times seems to be intensifying, alongside a desire to know precisely how bad things have gotten—and each new catastrophe distracts us from the last. The Unreality of Memory collects provocative, searching essays on disaster culture, climate anxiety, and our mounting collective sense of doom. In this new collection, acclaimed poet and essayist Elisa Gabbert explores our obsessions with disasters past and future, from the sinking of the Titanic to Chernobyl, from witch hunts to the plague. These deeply researched, prophetic meditations question how the world will end—if indeed it will—and why we can’t stop fantasizing about it. Can we avoid repeating history? Can we understand our moment from inside the moment? With The Unreality of Memory, Gabbert offers a hauntingly perceptive analysis of our new ways of being and a means of reconciling ourselves to this unreal new world. "A work of sheer brilliance, beauty and bravery.” *—Andrew Sean Greer, author of Less

"In 2003, an independent film called The room ... made its disastrous debut in Los Angeles. Described by one reviewer as 'like getting stabbed in the head,' the six-million-dollar film earned a grand total of $1800 at the box office and closed after two weeks. Ten years later, The room is an international cult phenomenon ... In [this book], actor Greg Sestero, Tommy's costar and longtime best friend, recounts the film's long, strange journey to infamy, unraveling mysteries for fans ... as well as the question that plagues the uninitiated: how the hell did a movie this awful ever get made?"--

How did the Victorian fixation on the disastrous John Franklin expedition transform our understanding of the Northwest Passage and the Arctic? Today we still tend to see the Arctic and the Northwest Passage through nineteenth-century perspectives, which focused on the discoveries of individual explorers, their illustrated books, visual culture, imperial ambitions, and high-profile disasters. However, the farther back one looks, the more striking the differences appear in how Arctic exploration was envisioned. Writing Arctic Disaster uncovers a wide range of exploration cultures: from the manuscripts of secretive corporations like the Hudson's Bay Company, to the nationalist Admiralty and its innovative illustrated books, to the searches for and exhibits of disaster relics in the Victorian era. This innovative study reveals the dangerous afterlife of this Victorian conflation of exploration and disaster, in the geopolitical significance accruing around the 2014 discovery of Franklin's ship Erebus in the Northwest Passage.

Hatchet meets The Babysitters Club in this epic and thrilling survival story about pushing oneself to the limit in the face of a crisis. We were all alone, in a shaken and shattered house, in the dark. And I was in charge. Hannah Steele loves living on Pelling, a tiny island near Seattle. She's always felt totally safe there. So when she's asked to babysit after school one day, it's no big deal. Zoe and Oscar are her next-door neighbors, and Hannah just took a babysitting class, which she's pretty sure makes her an expert. She isn't even worried that she left her inhaler at home. Then the shaking begins. The terrifying earthquake only lasts four minutes, but it changes everything—damaging the house, knocking out the power, and making cell service nonexistent. Even worse, the ferry and the bridge connecting the kids to help—and their parents—are both blocked, which means they're stranded alone. And Hannah's in charge as things go from bad to worse. Praise for The Disaster Days: "A realistic, engrossing survival story that's perfect for aspiring babysitters and fans of John Macfarlane's Stormstruck!, Sherry Shahan's Ice Island, or Wesley King's A World Below."—School Library Journal "The strength of this steadily paced novel that stretches over four days of a scary disaster scenario is that Hannah doesn't figure everything out; she stumbles, doubts, and struggles throughout it all."—The Bulletin of the Center for Children's Books "Fans of survival thrillers in the vein of Gary Paulsen's Hatchet will enjoy this tense, honest tale of bravery...an excellent (and refreshingly not didactic) teaching tool on natural-disaster preparedness."—Booklist "The relentless progression of a variety of disaster scenarios will keep readers turning pages...equally suspenseful and informative."—School Library Connection "Behrens uses immersive details and situations effectively viewed from Hannah's perspective to create a suspenseful, vivid story filled with lessons about responsibility and overcoming adversity."—Publishers Weekly The Disaster Days is a perfect... gift for preteen survival story fans earthquake fiction chapter book for tween girls ages 11-14 survivalist fiction book for middle grade girls summer reading book for preteens preteen gift for girls