In Uncanny Rest Alberto Moreiras offers a meditation on intellectual life under the suspension of time and conditions of isolation. Focusing on his personal day-to-day experiences of the “shelter-in-place” period during the first months of the coronavirus pandemic, Moreiras engages with the limits and possibilities of critical thought in the realm of the infrapolitical—the conditions of existence that exceed average understandings of politics and philosophy. In each dated entry he works through the process of formulating a life’s worth of thought and writing while attempting to locate the nature of thought once the coordinates of everyday life have changed. Offering nothing less than a phenomenology of thinking, Moreiras shows how thought happens in and out of a life, at a certain crossroads where memories collide, where conversations with interlocutors both living and dead evolve and thinking during a suspended state becomes provisional and uncertain.

This is the first book-length study of the uncanny, an important concept for contemporary thinking and debate across a range of disciplines and discourses, including literature, film, architecture, cultural studies, philosophy, psychoanalysis, and queer theory. Much of this importance can be traced back to Freud's essay of 1919, "The uncanny," where he was perhaps the first to foreground the distinctive nature of the uncanny as a feeling of something not simply weird or mysterious but, more specifically, as something strangely familiar. As a concept and a feeling, however, the uncanny has a complex history going back to at least the Enlightenment. Nicholas Royle offers a detailed historical account of the emergence of the uncanny, together with a series of close readings of different aspects of the topic. Following a major introductory historical and critical overview, there are chapters on the death drive, déjà-vu, "silence, solitude and darkness," the fear of being buried alive, doubles, ghosts, cannibalism, telepathy, and madness, as well as more "applied" readings concerned, for example, with teaching, politics, film, and religion. This is a major critical study that will be welcomed by students and academics but will also be of interest to the general reader.

This collection brings together 15 specially commissioned stories by internationally acclaimed writers and filmmakers, to explore and update Freud's classic theory of 'The Uncanny' - his piercing and all-encompassing dissection of what gives us the creeps.

While the advent and structure of electronic mail has been discussed in web caucuses, newspapers, hypertext theory, and communication theory, it has not yet been considered in conjunction with epistolary scenarios in film, art, and literature. To address this gap, Mail-Orders explores the status of the epistolary form at the end of the twentieth century and its connections to feminist criticism, literary theory, and postmodernism. One of the first works to consider electronic mail in relation to the history of epistolary fiction, Mail-Orders concerns itself with individual letters, as well as fiction written in letter form, and widens the debate on the often postulated "death of letters" by considering the epistolary connections between the eighteenth and twentieth centuries' systems of communication and representation.

This edited collection examines the effects that macrosystems have on the figuration of our everyday—of microdystopias—and argues that microdystopic narratives are part of a genre that has emerged in contrast to classic dystopic manifestations of world-shattering events. From different methodological and theoretical positions in fieldworks ranging from literary works and young adult series to concrete places and games, the contributors in Microdystopias: Aesthetics and Ideologies in a Broken Moment sound the depths of an existential sense of shrinking horizons – spatially, temporally, emotionally, and politically. The everyday encroachment on our sense of spatial orientation that gradually and discreetly diminishes the horizons of possibilities is demonstrated by examining what the forms of the microdystopic look like when they are aesthetically configured. Contributors analyze the aesthetics that play a particularly central and complex role in mediating, as well as disrupting, the parameters of dystopian emergences and emergencies, reflecting an increasingly uneasy relationship between the fictional, the cautionary, and the real. Scholars of media studies, sociology, and philosophy will find this book of particular interest.

Alek Fitz is a reaper, a collection agent who works for the supernatural elements of the world, tracking down debtors and solving problems for clients as diverse as the Lords of Hell, vampires, Haitian loa, and goblins. He’s even worked for the Tooth Fairy on occasion. Based out of Cleveland, Ohio, Alek is the best in the game. As a literal slave to his job, he doesn’t have a choice. When Death comes looking for someone to track down a thief, Alek is flung into a mess of vengeful undead, supernatural bureaucracy, and a fledgling imp war. As the consequences of failure become dire, he has few leads, and the clock is ticking. Only with the help of his friend Maggie—an ancient djinn with a complex past—can he hope to recover the stolen property, save the world, and just maybe wring a favor out of the Great Constant himself. It’s a hell of a job, but somebody’s got to do it . . .