Soon after the loss of his singing ability, Choir Korneli Leviyey (Tendon Levey) turned his attention to organizing and documenting his past experiences in an attempt at making sense of his circumstances. The goal of completing the work was laid to rest around 2014, at which point the book took on a more lax and diaral direction that continued until 2018. The Traumaturgy drafts are now being released in their raw and unfinished state to the public in their entirety aong with a text version of Leviyey’s former online blog which he maintained from 2017-2020.

In the stories that make up Oblivion, David Foster Wallace joins the rawest, most naked humanity with the infinite involutions of self-consciousness -- a combination that is dazzlingly, uniquely his. These are worlds undreamt of by any other mind. Only David Foster Wallace could convey a father's desperate loneliness by way of his son's daydreaming through a teacher's homicidal breakdown (The Soul Is Not a Smithy). Or could explore the deepest and most hilarious aspects of creativity by delineating the office politics surrounding a magazine profile of an artist who produces miniature sculptures in an anatomically inconceivable way (The Suffering Channel). Or capture the ache of love's breakdown in the painfully polite apologies of a man who believes his wife is hallucinating the sound of his snoring (Oblivion). Each of these stories is a complete world, as fully imagined as most entire novels, at once preposterously surreal and painfully immediate.

Revealing the secret history of punctuation, this tour of two thousand years of the written word, from ancient Greece to the Internet, explores the parallel histories of language and typography throughout the world and across time.

The lights in the bus burned dim, orange-hued behind opaque bevelled glass; ranged below the luggage racks they lit up the advertisement panels with repeated circles of bilious light. A white face that never seemed to turn away was watching her in the glass. Imogen Langrishe, the youngest of four sisters, embarks on a reckless love affair with a charismatic and indigent German scholar. Her family's name has long been a byword for money, status and respectability in Celbridge, County Kildare, but the world is now changing.

Elizabeth Bowen and the Writing of Trauma analyses the treatment of memory and the past in Bowen’s writing through the lens of trauma theory. It draws on the theories of Jacques Derrida, Hélène Cixous, Julia Kristeva, Sigmund Freud, and Cathy Caruth, to propose that Bowen’s work is best understood through the psychological, narratological, and linguistic effects of trauma in her fiction. Bowen’s writing complicates existing deconstructive and psychoanalytic models of trauma and literature, and testifies to the responsibility of survival and the ethics of bearing witness.