Today, we find ourselves surrounded by numerous reasons to despair, from loneliness, suffering and death at an individual level to societal alienation, oppression, sectarian conflict and war. No honest assessment of life can take place without facing up to these facts and it is not surprising that more and more people are beginning to suspect that the human story will end in tragedy. However, this focus on despair does not paint a complete and accurate picture of reality, which is also inflected with beauty and goodness. Working with examples from poetry and literature, including Virginia Woolf and Jack Gilbert and the films of Terrence Malick, Melancholic Joy offers an honest assessment of the human condition. It unflinchingly acknowledges the everyday frustrations and extraordinary horrors that generate despair and argues that the appropriate response is to take up joy again, not in an attempt to ignore or dismiss evil, but rather as part of a “melancholic joy” that accepts the mystery of a world both beautiful and brutal.

Today, we find ourselves surrounded by numerous reasons to despair, from loneliness, suffering and death at an individual level to societal alienation, oppression, sectarian conflict and war. No honest assessment of life can take place without facing up to these facts and it is not surprising that more and more people are beginning to suspect that the human story will end in tragedy. However, this focus on despair does not paint a complete and accurate picture of reality, which is also inflected with beauty and goodness. Working with examples from poetry and literature, including Virginia Woolf and Jack Gilbert and the films of Terrence Malick, Melancholic Joy offers an honest assessment of the human condition. It unflinchingly acknowledges the everyday frustrations and extraordinary horrors that generate despair and argues that the appropriate response is to take up joy again, not in an attempt to ignore or dismiss evil, but rather as part of a “melancholic joy” that accepts the mystery of a world both beautiful and brutal.

Americans are addicted to happiness. When we're not popping pills, we leaf through scientific studies that take for granted our quest for happiness, or read self-help books by everyone from armchair philosophers and clinical psychologists to the Dalai Lama on how to achieve a trouble-free life: Stumbling on Happiness; Authentic Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment; The Art of Happiness: A Handbook for Living. The titles themselves draw a stark portrait of the war on melancholy. More than any other generation, Americans of today believe in the transformative power of positive thinking. But who says we're supposed to be happy? Where does it say that in the Bible, or in the Constitution? In Against Happiness, the scholar Eric G. Wilson argues that melancholia is necessary to any thriving culture, that it is the muse of great literature, painting, music, and innovation—and that it is the force underlying original insights. Francisco Goya, Emily Dickinson, Marcel Proust, and Abraham Lincoln were all confirmed melancholics. So enough Prozac-ing of our brains. Let's embrace our depressive sides as the wellspring of creativity. What most people take for contentment, Wilson argues, is living death, and what the majority takes for depression is a vital force. In Against Happiness: In Praise of Melancholy, Wilson suggests it would be better to relish the blues that make humans people.

"Reading Jeffrey McDaniel's gorgeously dark and utterly compelling Chapel of Inadvertent Joy reminds me that he is probably the most important poet in America. The book in your hands was written by a master of metaphor and a poet of huge imagination and fierce ingenuity, a fine antidote to realism. Get this voice in your head."—Major Jackson

Why does agency -- the capacity to make choices and to act in the world -- matter to us? Why is it meaningful that our intentions have effects in the world, that they reflect our sense of identity, that they embody what we value? What kinds of motivations are available for political agency and judgment in an age that lacks the enthusiasm associated with the great emancipatory movements for civil rights and gender equality? What are the conditions for the possibility of being an effective agent when the meaning of democracy has become less transparent? David Kyuman Kim addresses these crucial questions by uncovering the political, moral, philosophical, and religious dimensions of human agency. Kim treats agency as a form of religious experience that reflects implicit and explicit notions of the good. Of particular concern are the moral, political, and religious motivations that underpin an understanding of agency as meaningful action. Through a critical engagement with the work of theorists such as Judith Butler, Charles Taylor, and Stanley Cavell, Kim argues that late modern and postmodern agency is found most effectively at work in what he calls "projects of regenerating agency" or critical and strategic responses to loss. Agency as melancholic freedom begins and endures, Kim maintains, through the moral and psychic losses associated with a broad range of experiences, including the moral identities shaped by secularized modernity and the multifold forms of alienation experienced by those who suffer the indignities of racial, gender, class, and sexuality discrimination and oppression. Kim calls for renewing the sense of urgency in our political and moral engagements by seeing agency as a vocation, where the aspiration for self-transformation and the human need for hope are fundamental concerns.

Focusing on "Sadness and Melancholy in German-language Literature and Culture," volume 6 investigates the often subversive function and meaning of sadness and melancholy in German-language literature and culture from the seventeenth century to the present where, arguably, it has fallen from the heights of melancholy genius and artistic creativity of earlier epochs to become the embarrassing other of a Western civilization that prizes happiness as the mark of successful modern living. Interrogating the distinction between sadness as an anthropological constant and melancholy as a shifting cultural discourse, the contributions explore how different authors use established literary and cultural topoi from melancholy discourses to comment on topics as diverse as war, religion, gender inequality, and modernity. As well as essays on canonical figures including Goethe and Thomas Mann, the volume features studies of sadness in lesser-known writers such as Betty Paoli and Julia Schoch. -- From publisher's website.

Why the art historian's craft is a uniquely melancholy art Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, The Melancholy Art explores the unique connections between melancholy and the art historian's craft. Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art? The Melancholy Art looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy.