Drawing on philosophical and psychoanalytic methods of interpretation, Richard Kuhns explores modern transformations of an ancient poetic genre, tragedy. Recognition of the philosophical problems addressed in tragedy, and of their presence up through eighteenth- and nineteenth-century philosophical texts, novels, and poetry, establishes a continuity between classical and modern enactments. Psychoanalytic theory in both its original formulations and post-Freud developments provides a means to enlarge upon and inform philosophical analyses that have dominated modern discussions. From Aeschylus' classic drama The Persians to the hidden tragic themes in The Merchant of Venice, from the aesthetic writings of Kant to Kleist's narrative Michael Kohlhaas, Kuhns traces the writing and rewriting of the themes of ancient tragedy through modern texts. A culture's concept of fate, Kuhns argues, evolves along with its concepts and forms of tragedy. Examining the deep philosophical concerns of tragedy, he shows how the genre has changed from loss and mourning to contradiction and repression. He sees the fact that tragedy went underground during the optimism of the Enlightenment as a repression that continues into the American consciousness. Turning to Melville's The Confidence Man as an example of Old World despair giving way to New World nihilism, Kuhns indicates how psychoanalytic understanding of tragedy provides a method of interpretation that illuminates the continuous tradition from the ancient to the modern world. The study concludes with reflections on the poetry of Walt Whitman and Emily Dickinson. Each poet's celebration of the body, and the contribution of the senses to reason, perception, and poetic intuition, is seen as an embodiment of the modern tragic sensibility.

When tragedy strikes we want to know: Why did this happen? How could it have happened? Where is life's justice and fairness? When tragedy strikes we need to know: What still makes sense. What paths lead to healing. How to deal with the timeless questions. When Rabbi Richard Agler's twenty-six-year-old daughter Talia was struck and killed by a motor vehicle, his understanding of tragedy failed him. This book is an account of a journey, one he had no choice but to take, leading from unimaginable grief to (at least partial) recovery. In clear and compelling language, with references to both ancient and modern sources of wisdom, Rabbi Agler offers insight for everyone who has, or who one day might, experience painful loss. The Tragedy Test may give you enhanced clarity on some of humanity's most profound questions. It may lead you to reimagine the nature of our universe. It may fundamentally challenge your understanding of the God you thought you knew. It will not leave you unmoved or unchanged.

WINNER OF THE NATIONAL BOOK AWARD FOR FICTION NATIONAL BESTSELLER “Electrifying” (People) • “Masterly” (The Guardian) • “Dramatic and memorable” (The New Yorker) • “Magic” (TIME) • “Ingenious” (The Financial Times) • "A gonzo literary performance” (Entertainment Weekly) • “Rare and splendid” (The Boston Globe) • “Remarkable” (USA Today) • “Delicious” (The New York Times) • “Book groups, meet your next selection" (NPR) In an American suburb in the early 1980s, students at a highly competitive performing arts high school struggle and thrive in a rarified bubble, ambitiously pursuing music, movement, Shakespeare, and, particularly, their acting classes. When within this striving “Brotherhood of the Arts,” two freshmen, David and Sarah, fall headlong into love, their passion does not go unnoticed—or untoyed with—by anyone, especially not by their charismatic acting teacher, Mr. Kingsley. The outside world of family life and economic status, of academic pressure and of their future adult lives, fails to penetrate this school’s walls—until it does, in a shocking spiral of events that catapults the action forward in time and flips the premise upside-down. What the reader believes to have happened to David and Sarah and their friends is not entirely true—though it’s not false, either. It takes until the book’s stunning coda for the final piece of the puzzle to fall into place—revealing truths that will resonate long after the final sentence. As captivating and tender as it is surprising, Susan Choi's Trust Exercise will incite heated conversations about fiction and truth, and about friendships and loyalties, and will leave readers with wiser understandings of the true capacities of adolescents and of the powers and responsibilities of adults.

Ambassador to South Vietnam during the Kennedy administration, this book is Nolting's frank and perceptive account of the events in Vietnam and Washington that culminated in the overthrow of the Diem government in November 1963.

This book will provide help and encouragement to all laryngectomy patients and their families. It is full of practical advice and information, as well as reassurance. The author, who has himself had his larynx removed, writes from personal experience of the problems caused by the loss of normal speech, and describes the method of learning to use substitue 'pharyngeal' speech. Written in a straightforward, humorous style and illustrated with cartoon 'Laryngectomy is not a tragedy' will prove to be a valuable source of advice and inspiration to all those who face this operation.

Hegel and Nietzsche are two of the most important figures in philosophy and religion. Robert R. Williams challenges the view that they are mutually exclusive. He identifies four areas of convergence. First, Hegel and Nietzsche express and define modern interest in tragedy as a philosophical topic. Each seeks to correct the traditional philosophical and theological suppression of a tragic view of existence. This suppression of the tragic is required by the moral vision of the world, both in the tradition and in Kant's practical philosophy and its postulates. For both Hegel and Nietzsche, the moral vision of the world is a projection of spurious, life-negating values that Nietzsche calls the ascetic ideal, and that Hegel identifies as the spurious infinite. The moral God is the enforcer of morality. Second, while acknowledging a tragic dimension of existence, Hegel and Nietzsche nevertheless affirm that existence is good in spite of suffering. Both affirm a vision of human freedom as open to otherness and requiring recognition and community. Struggle and contestation have affirmative significance for both. Third, while the moral God is dead, this does not put an end to the God-question. Theology must incorporate the death of God as its own theme. The union of God and death expressing divine love is for Hegel the basic speculative intuition. This implies a dipolar, panentheistic concept of a tragic, suffering God, who risks, loves, and reconciles. Fourth, Williams argues that both Hegel and Nietzsche pursue theodicy, not as a justification of the moral God, but rather as a question of the meaningfulness and goodness of existence despite nihilism and despite tragic conflict and suffering. The inseparability of divine love and anguish means that reconciliation is no conflict-free harmony, but includes a paradoxical tragic dissonance: reconciliation is a disquieted bliss in disaster.