At the Limit of the Obscene: German Realism and the Disgrace of Matter examines the fear of materiality in German-language realist and postrealist literature. The book argues that with German literature's turn in the mid-nineteenth century to the depiction of the profane, sensual world, anxiety emerged about the terms of that depiction--with consequences not only for the formal development of realist poetics but also for the conception of profane physical matter itself. Erica Weitzman analyzes works by Adalbert Stifter, Gustav Freytag, Theodor Fontane, Arno Holz, Gottfried Benn, and Franz Kafka to show how efforts to represent the material world in human terms led to an idea of the obscene as an excess of sensual appearance beyond human meaning: the very obverse of the anthropocentric worldview that realism both propagates and pushes to its crisis. At the Limit of the Obscene thus brings to light the troubled and troubling ontology underlying German realism, at the same time demonstrating how it shaped--and continues to shape--our ideas about materiality, alterity, perception, knowledge, representability, and the relationship of human beings to the nonhuman world.

As German-language literature turned in the mid-nineteenth century to the depiction of the profane, sensual world, a corresponding anxiety emerged about the terms of that depiction—with consequences not only for realist poetics but also for the conception of the material world itself. At the Limit of the Obscene examines the roots and repercussions of this anxiety in German realist and postrealist literature. Through analyses of works by Adalbert Stifter, Gustav Freytag, Theodor Fontane, Arno Holz, Gottfried Benn, and Franz Kafka, Erica Weitzman shows how German realism’s conflicted representations of the material world lead to an idea of the obscene as an excess of sensual appearance beyond human meaning: the obverse of the anthropocentric worldview that German realism both propagates and pushes to its crisis. At the Limit of the Obscene thus brings to light the troubled and troubling ontology underlying German realism, at the same time demonstrating how its works continue to shape our ideas about representability, alterity, and the relationship of human beings to the non-human well into the present day.

Irony's Antics marks a major intervention into the underexplored role of the comic in German letters. At the book's heart is the relationship between the comic and irony. Weitzman argues that in the early twentieth century, irony, a key figure for the German Romantics, reemerged from its relegation to "nonsense" in a way that both rethought Romantic irony and dramatically extended its reach.

Scholarly responses to Henry Miller's works have never been numerous and for many years Miller was not a fashionable writer for literary studies. In fact, there exist only three collections of essays concerning Henry Miller's oeuvre. Since these books appeared, a new generation of international Miller scholars has emerged, one that is re-energizing critical readings of this important American Modernist. Henry Miller: New Perspectives presents new essays on carefully chosen themes within Miller and his intellectual heritage to form the most authoritative collection ever published on this author.

What do pop artist Andy Warhol, sex researcher Alfred Kinsey, and cinematic comedians Abbott & Costello have in common? They all found a prominent place in the FBI's "Obscene File." In this startling new study Douglas Charles reveals how, for more than seventy years, FBI officials placed obscenity, pornography, and the politics of morality among their topmost concerns. Illuminating this largely neglected aspect of FBI history, Charles charts the evolution of the Bureau's efforts to combat the spread of obscenity and its perceived insidious effects. He contends that, especially during the five decades under J. Edgar Hoover, these efforts became a surprisingly high priority and at times were expressly wielded for political ends, even as Hoover hid the file from public view in order to preserve the Bureau's squeaky-clean image. Charles recounts how the "Obscene File" was conceived and organized by Hoover and describes its contents, which included magazines, films, and artwork in addition to dossiers on offenders. He examines the FBI's targeting of 1940s and '50s "race music" with its depictions of "lewd and licentious acts in obscene and foul language." He describes how the FBI collected photos of activities at gay bars and prosecuted businesses that published "obscene" pro-gay magazines, and how it participated in the "Lavender Scare" that targeted gays in the federal government. He also details the FBI's efforts to short-circuit the distribution of the film Deep Throat and disrupt the pornographic movie industry. On the political front, Charles tells how Hoover found a fellow crusader in Richard Nixon, who hijacked the obscenity issue to rally an electoral base weary of an "anything-goes" decade. But as changing mores and laws redefined obscenity, subsequent directors moved away from Hoover's approach and focused more on mob control of pornography, kiddie porn, and the war on drugs. Subsequently, the "Obscene File" mostly fell into disuse during the presidencies of Bill Clinton and George W. Bush, the latter president unable to gain any traction with his own obscenity initiatives. Taking in the whole scope of these operations, Charles's insightful history offers a previously unseen look at a major facet of FBI activities and contributes significantly to our understanding of Hoover and his legacy.

Drawing on sources as diverse as Supreme Court decisions, nightclub comedy, congressional records, and cultural theory, Obscene Gestures explores the many contradictory vectors of twentieth-century moralist controversies surrounding literary and artistic works from Henry Miller’s Tropic of Cancer to those of Toni Morrison, Alice Walker, Kathy Acker, Robert Mapplethorpe, 2 Live Crew, Tony Kushner, and others. Patrick S. Lawrence dives into notorious obscenity debates to reconsider the divergent afterlives of artworks that were challenged or banned over their taboo sexual content to reveal how these controversies affected their critical reception and commercial success in ways that were often determined at least in part by racial, gender, or sexual stereotypes and pernicious ethnographic reading practices. Starting with early postwar touchstone cases and continuing through the civil rights, feminist, and LGBTQ+ movements, Lawrence demonstrates on one level that breaking sexual taboos in literary and cultural works often comes with cultural cachet and increased sales. At the same time, these benefits are distributed unequally, leading to the persistence of exclusive hierarchies and inequalities. Obscene Gestures takes its bearings from recent studies of the role of obscenity in literary history and canon formation during the late nineteenth and early twentieth centuries, extending their insights into the postwar period when broad legal latitude for obscenity was established but when charges of obscenity still carried immense symbolic and political weight. Moreover, the rise of social justice movements around this time provides necessary context for understanding the application of legal precedents, changes in the publishing industry, and the diversification of the canon of American letters. Obscene Gestures, therefore, advances the study of obscenity to include recent developments in the understanding of race, gender, and sexuality while refining our understanding of late-twentieth-century American literature and political culture.

It's pretty rare to come across a motor racing book that tempts you to read the thing in one sitting but "Prof" Watkins has produced a gem ... [he] is a superb raconteur, not afraid to speak him mind yet peppering the gravity with occasionally side-splitting humour. No true motorsport fan should be without this book.' Autosport Grand Prix racing has undergone sweeping changes in the last thirty years. Many of these involve safety and medical rescue. The man behind them - a champion in the racing world although he has never won a race - is the eminent neurosurgeon Sid Watkins. Life at the Limit is his remarkable story. It spans the most exciting years in Grand Prix racing and includes intimate portraits of motorsport's greatest names, from Jackie Stewart and Niki Lauda to Alain Prost and Damon Hill. Sid Watkins has also witnessed, at first hand, some of the most severe and spectacular racing accidents. His account of these is made all the more poignant by the fact that some of the men he has rescued, sometimes at the point of death, have been personal friends. From Monza, in 1978, where Ronnie Petersen suffered a fatal accident, to Imola in May 1994 where Ayrton Senna met his untimely death, the high, and low, points of Grand Prix racing are vividly described. For all fans of Formula One, this is the inside story of the world's most dangerous sport.

In a series of landmark decisions since 1990, Canadian courts have shaped a distinctive approach to the regulation of obscenity, hate literature, and child pornography. Missing from the debate, however, has been any attempt to determine whether the legal status quo can be justified by reference to a framework of moral/political principles. The Hateful and the Obscene is intended to fill that gap. The Hateful and the Obscene is an interpretation of freedom of expression that combines serious philosophical thought with a focus on Canadian law, thus offering the breadth capable of dealing with both obscenity and hate literature