In these six essays--delivered on the BBC as the prestigious Reith Lectures--Edward Said addresses the ways in which the intellectual can best serve society in the light of a heavily compromised media and of special interest groups who are protected at the cost of larger community concerns. Said suggests a recasting of the intellectual's vision to resist the lures of power, money, and specialization. In these pieces, Said eloquently illustrates his arguments by drawing on such writers as Antonio Gramsci, Jean-Paul Sartre, Regis Debray, Julien Benda, and Theodore Adorno, and by discussing current events and celebrated figures in the world of science and politics: Robert Oppenheimer, Henry Kissinger, Dan Quayle, Vietnam and the Gulf War. Said sees the modern intellectual as an editor, journalist, academic, or political adviser--in other words, a highly specialized professional--who has moved from a position of independence to an alliance with powerful corporate, institutional, or governmental organizations. He concludes that it is the exile-immigrant, the expatriate, and the amateur who must uphold the traditional role of the intellectual as the voice of integrity and courage, able to speak out against those in power.

In these impassioned and inspiring essays, based on his 1993 Reith Lectures, Edward Said explores what it means to be an intellectual. "Said is a brilliant and unique amalgam of scholar, aesthete and political activist. . . . He challenges and stimulates our thinking in every area." --Washington Post Book World Are intellectuals merely the servants of special interests or do they have a larger responsibility? In these wide-ranging essays, one of our most brilliant and fiercely independent public thinkers addresses this question with extraordinary eloquence. Said sees the the intellectual as an exile and amateur whose role it is "to speak the truth to power" even at the risk of ostracism or imprisonment. Drawing on the examples of Jonathan Swift and Theodor Adorno, Robert Oppenheimer and Henry Kissinger, Vietnam and the Gulf War, Said explores the implications of this idea and shows what happens when intellectuals succumb to the lures of money, power, or specialization.

This indispensable volume, a comprehensive and wide-ranging resource on Edward Said's life and work, spans his broad legacy both within and beyond the academy. The book brings together contributions from 31 luminaries to engage Said's provocative ideas.

A groundbreaking critique of the West's historical, cultural, and political perceptions of the East that is—three decades after its first publication—one of the most important books written about our divided world. "Intellectual history on a high order ... and very exciting." —The New York Times In this wide-ranging, intellectually vigorous study, Said traces the origins of "orientalism" to the centuries-long period during which Europe dominated the Middle and Near East and, from its position of power, defined "the orient" simply as "other than" the occident. This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding.

Said demonstrates that critical discourse has been strengthened by the writings of Derrida and Foucault and by influences like Marxism, structuralism, linguistics, and psychoanalysis. But, he argues, these forces have compelled literature to meet the requirements of a theory or system, ignoring complex affiliations binding the texts to the world.

brought on by advances in technological communication, intellectual specialization, and cultural sensitivity -- has eroded the former primacy of the humanities, Edward Said argues that a more democratic form of humanism -- one that aims to incorporate, emancipate, and enlighten --

With their powerful blend of political and aesthetic concerns, Edward W. Said's writings have transformed the field of literary studies. This long-awaited collection of literary and cultural essays offers evidence of how much the fully engaged critical mind can contribute to the reservoir of value, thought, and action essential to our lives and culture.

Author of the groundbreaking The Question of Palestine, Edward Said has been America's most outspoken advocate for Palestinian self-determination. As these collected essays amply prove, he is also our most intelligent and bracingly heretical writer on affairs involving not only Palestinians but also the Arab and Muslim worlds and their tortuous relations with the West. "Solidly imbued with historical context and geopolitical conjecture...fresh, unpredictable, personal and incorruptible writing."—Boston Globe In The Politics of Dispossession, Said traces his people's struggle for statehood through twenty-five years of exile, from the PLO's bloody 1970 exile from Jordan through the debacle of the Gulf War and the ambiguous 1994 peace accord with Israel. As frank as he is about his personal involvement in that struggle, Said is equally unsparing in his demolition of Arab icons and American shibboleths. Stylish, impassioned, and informed by a magisterial knowledge of history and literature, The Politics of Dispossession is a masterly synthesis of scholarship and polemic that has the power to redefine the debate over the Middle East.

Edward Said has long been considered one of the world’s most compelling public intellectuals, taking on a remarkable array of topics with his many publications. But no single book has encompassed the vast scope of his stimulating erudition quite like Power, Politics, and Culture, a collection of interviews from the last three decades. In these twenty-eight interviews, Said addresses everything from Palestine to Pavarotti, from his nomadic upbringing under colonial rule to his politically active and often controversial adulthood, and reflects on Austen, Beckett, Conrad, Naipaul, Mahfouz, and Rushdie, as well as on fellow critics Bloom, Derrida, and Foucault. The passion Said feels for literature, music, history, and politics is powerfully conveyed in this indispensable complement to his prolific life's work.

In the critical essays collected in Black Looks, bell hooks interrogates old narratives and argues for alternative ways to look at blackness, black subjectivity, and whiteness. Her focus is on spectatorship—in particular, the way blackness and black people are experienced in literature, music, television, and especially film—and her aim is to create a radical intervention into the way we talk about race and representation. As she describes: "the essays in Black Looks are meant to challenge and unsettle, to disrupt and subvert." As students, scholars, activists, intellectuals, and any other readers who have engaged with the book since its original release in 1992 can attest, that's exactly what these pieces do.