At once criminal and savior, clown and creator, antagonist and mediator, the character of trickster has made frequent appearances in works by writers the world over. Usually a figure both culturally specific and transcendent, trickster leads the way to the unconscious, the concealed, and the seemingly unattainable. This book offers thirteen interpretations of trickster in American writing, including essays on works by African America, Native America, Pacific Rim, and Latino writers, as well as an examination of trickster politics. This collection conveys the trickster's imprint on the modern world.

In Trickster Makes This World, Lewis Hyde brings to life the playful and disruptive side of human imagination as it is embodied in trickster mythology. He first visits the old stories—Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others—and then holds them up against the lives and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Twelve years after its first publication, Trickster Makes This World—authoritative in its scholarship, loose-limbed in its style—has taken its place among the great works of modern cultural criticism. This new edition includes an introduction by Michael Chabon.

Wild/lives draws on myth, popular culture and analytical psychology to trace the machinations of 'trickster' in contemporary film and television. This archetypal energy traditionally gravitates toward liminal spaces – physical locations and shifting states of mind. By focusing on productions set in remote or isolated spaces, Terrie Waddell explores how key trickster-infused sites of transition reflect the psychological fragility of their willing and unwilling occupants. In differing ways, the selected texts – Deadwood, Grizzly Man, Lost, Solaris, The Biggest Loser, Amores Perros and Repulsion – all play with inner and outer marginality. As this study demonstrates, the dramatic potential of transition is not always geared toward resolution. Prolonging the anxiety of change is an increasingly popular option. Trickster moves within this wildness and instability to agitate a form of dialogue between conscious and unconscious processes. Waddell's imaginative interpretation of screen material and her original positioning of trickster will inspire students of media, cinema, gender and Jungian studies, as well as academics with an interest in the application of Post-Jungian ideas to screen culture.

Contains nine short folktales about tricksters, featuring selections from Persia, India, Poland, France, and other places.

In The Sovereign Trickster Vicente L. Rafael offers a prismatic view of the age of Rodrigo Duterte in the contemporary Philippines. Framing Duterte as a trickster figure who boasts, jokes, terrorizes, plays the victim, and instills terror, Rafael weaves together topics ranging from the drug war, policing, and extrajudicial killings to neoliberal citizenship, intimacy, and photojournalism. He is less concerned with defining Duterte as a fascist, populist, warlord, and traditional politician than he is with examining what Duterte does: how he rules, the rhetoric of his humor, his use of obscenity to stoke fear, and his projection of masculinity and misogyny. Locating Duterte's rise within the context of counterinsurgency, neoliberalism, and the history of electoral violence, while drawing on Foucault’s biopower and Mbembe’s necropolitics, Rafael outlines how Duterte weaponizes death to control life. By diagnosing the symptoms of the authoritarian imaginary as it circulates in the Philippines, Rafael provides a complex account of Duterte’s regime and the social conditions that allow him to enjoy continued support.

The annual pumpkin float race ends with a ghastly discovery. It's up to Peggy Turner to solve the mystery.

Following the Scotiabank Giller Prize-shortlisted Son of a Trickster comes Trickster Drift, the second book in Eden Robinson's captivating Trickster trilogy. In an effort to keep all forms of magic at bay, Jared, 17, has quit drugs and drinking. But his troubles are not over: now he's being stalked by David, his mom's ex--a preppy, khaki-wearing psycho with a proclivity for rib-breaking. And his mother, Maggie, a living, breathing badass as well as a witch, can't protect him like she used to because he's moved away from Kitimat to Vancouver for school. Even though he's got a year of sobriety under his belt (no thanks to his enabling, ever-partying mom), Jared also struggles with the temptation of drinking. And he's got to get his grades up, find a job that doesn't involve weed cookies, and somehow live peacefully with his Aunt Mave, who has been estranged from the family ever since she tried to "rescue" him as a baby from his mother. An indigenous activist and writer, Mave smothers him with pet names and hugs, but she is blind to the real dangers that lurk around them--the spirits and supernatural activity that fill her apartment. As the son of a Trickster, Jared is a magnet for magic, whether he hates it or not--he sees ghosts, he sees the monster moving underneath his Aunt Georgina's skin, he sees the creature that comes out of his bedroom wall and creepily wants to suck his toes. He also still hears the Trickster in his head, and other voices too. When the David situation becomes a crisis, Jared can't ignore his true nature any longer.