Drawing on studies of survivor psychology, this work provides an illuminating new reading of Moby-Dick. Janet Reno gives Ishmael new prominence and casts light on many of Moby-Dick's structural and thematic features.

My new friends have begun to suspect I haven’t told them the full story of my life. “Why did you leave Sierra Leone?” “Because there is a war.” “You mean, you saw people running around with guns and shooting each other?” “Yes, all the time.” “Cool.” I smile a little. “You should tell us about it sometime.” “Yes, sometime.” This is how wars are fought now: by children, hopped-up on drugs and wielding AK-47s. Children have become soldiers of choice. In the more than fifty conflicts going on worldwide, it is estimated that there are some 300,000 child soldiers. Ishmael Beah used to be one of them. What is war like through the eyes of a child soldier? How does one become a killer? How does one stop? Child soldiers have been profiled by journalists, and novelists have struggled to imagine their lives. But until now, there has not been a first-person account from someone who came through this hell and survived. In A Long Way Gone, Beah, now twenty-five years old, tells a riveting story: how at the age of twelve, he fled attacking rebels and wandered a land rendered unrecognizable by violence. By thirteen, he’d been picked up by the government army, and Beah, at heart a gentle boy, found that he was capable of truly terrible acts. This is a rare and mesmerizing account, told with real literary force and heartbreaking honesty.

This set comprises 40 volumes covering 19th and 20th century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set complements the first 68 volume set of Critical Heritage published by Routledge in October 1995.

Sexual abuse is a subject that has received and continues to attract a considerable amount of scholarly attention. However, most studies tend to treat sexual abuse as strictly personal and isolated suffering. Following Sexual Abuse attempts to develop a broader perspective on this important issue via narrated accounts of women's experiences. It is a sociological investigation that looks at the connection between the intra-personal and social worlds of victims as revealed through reflexive therapy. Marie C. Croll explores the transformational space between intra-personal and social experiences of self, a dual perspective that allows room for both personal and collective experiences to enter into a discussion of sexual abuse and its effects. She argues that private and public interpretations need to be considered together as their influences on the individual are inseparable. Using individual case studies, Croll demonstrates the extent to which variable public perspectives on sexual abuse come to define victims? relationships to their own accounts. Following Sexual Abuse offers vital sociological insights and contributes a necessary intra-personal vantage point to the experience of sexual abuse and reflexive therapy.

Literature explores the human condition, the mystery of the world, life and death, as well as our relations with others, and our desires and dreams. It differs from science in its aims and methods, but Babuts shows in other respects that literature has much common ground with science. Both aim for an authentic version of truth. To this end, literature employs metaphors, and it does so in a manner similar to that of scientific inquiry.The cognitive view does not imply that there is a one-to-one correlation between the world and text, that meaning belongs to the author, or that literature is equivalent to perception. What it does maintain is that meaning is crucially dependent on mnemonic initiatives and that without memory, the world remains meaningless. Nicolae Babuts claims that at the interface with the printed page, readers process texts in a manner similar to the way they explain the visible world: in segments or units of meaning or dynamic patterns.Babuts argues that humans achieve recognition by integrating stimulus sequences with corresponding patterns that recognize and interpret each segment of a text. Memory produces meaning from these patterns. In harmony with its goals, memory may adopt specific strategies to deal with different stimuli. Dynamic patterns link the unit of processing with the unit of meaning. In sum, Babuts proposes that meaning is achieved through metaphors and narrative, and that both are ways to reach cognitive goals. This original study offers perspectives that will interest cognitive psychologists, as well as those simply interested in the process through which literature stirs the human imagination.

Books have been written, films made, we have raised the Titanic and watched her go down again on numerous occasions, but out of the wreckage Frances Wilson spins a new epic: when the ship hit the iceberg on 14 April 1912 and a thousand men prepared to die, J Bruce Ismay, the ship's owner and inheritor of the White Star fortune, jumped into a lifeboat with the women and children and rowed away to safety. Accused of cowardice, Ismay became, according to one headline, 'The Most Talked-of Man in the World'. The first victim of a press hate campaign, his reputation never recovered and while other survivors were piecing together their accounts, Ismay never spoke of his beloved ship again. With the help of that great narrator of the sea, Joseph Conrad, whose Lord Jim so uncannily predicted Ismay's fate - and whose manuscript of the story of a man who impulsively betrays a code of honour and lives on under the strain of intolerable guilt went down with the Titanic - Frances Wilson explores the reasons behind Ismay's jump, his desperate need to make sense of the horror of it all, and to find a way of living with lost honour. For those who survived the Titanic the world was never the same again. But as Wilson superbly demonstrates, we all have our own Titanics, and we all need to find ways of surviving them.

"Collected Prose will introduce a new generation of readers to a central modernist and postmodernist thinker in American letters. For the energy of the avant-garde literary project at midcentury, Olson is it. No one else has the excitement or range."—Robert Hass "At last we have between two covers some of the most compelling theorizing in postmodern poetics and American Studies ever produced, from one of the defining figures in postwar American poetry. This is that rarest of books, a must-read for poets and scholars alike."—Alan Golding

How do you use the word "radical?" Committed to the progressive? The cooperative? The communal? The equalitarian? In so far as social, political, and economic power is sought and wielded in malice, just so far is benevolence radical. The history of social, political, and economic power has been mostly the history of malice. The history of benevolence has been mostly the history of radicalism. The sensibility that loves benevolence has been a radical sensibility. In An Essay in the History of the Radical Sensibility in America, L.S. Halprin argues that before the middle of the nineteenth century the work of all American radicals was organized to defend some form of sentimental faith in millennial progress; that the work of the great writers of the middle of the nineteenth century was the first to be fundamentally free of the constraints of sentimentality; that despite that generation’s accomplishments, the old sentimentalities have persisted, perpetuating the cycle in which illusions designed to make radicalism’s chances seem better than they are become the disillusions which make them seem worse. Along the way, Halprin unfolds something of the contribution of Edgar Alan Poe, Nathaniel Hawthorne, Herman Melville, and Walt Whitman to the specific content of the radical sensibility in America. Since the middle of the nineteenth century, the radical’s work has been primarily to accomplish political power. That work and the frustrations of it often leave little energy for the pursuit of a thoroughgoing self-awareness. Halprin's analysis is particularly useful now to remind readers of both the sentimentalities and the wisdoms from which we come.

The cyborg is the hero of an increasingly popular genre of American film. Drawing from representative films such as "Jaws", "The Deer Hunter" and "The Manchurian Candidate" the authors track the narrative's thread from the hunter to his technological nemesis.

Waiting for the End examines two dozen contemporary novels within the context of a half century of theorizing about the function of ending in narrative. That theorizing about ending generated a powerful dynamic a quarter-century ago with the advent of feminist criticism of masculinist readings of the role played by ending in fiction. Feminists such as Theresa de Lauretis in 1984 and more famously Susan Winnett in her 1991 PMLA essay, Coming Unstrung, were leading voices in a swelling chorus of theorist pointing out the masculinist bias of ending in narrative. With the entry of feminist readings of ending, it became inevitable that criticism of fiction would become gendered through the recognition of difference transcending a simple binary of female/male to establish a spectrum of masculine to feminine endings, regardless of the sex of the writer. Accordingly, Waiting for the End examines pairs of novels - one pair by Margaret Atwood and one by Ian McEwan - to demonstrate how a writer can offer endings at either end of the gender spectrum.