This book is about the ambition, in a set of paradigmatic writers of the twentieth century, to simultaneously enlist and break the spell of the real—their fascination with the spectacle of violence and suffering—and the difficulties involved in capturing this kind of excess by aesthetic means. The works at the center of this study—by Franz Kafka, Georges Bataille, Claude Simon, Peter Weiss, and Heiner Müller—zero in on scenes of agony, destruction, and death with an astonishing degree of precision and detail. The strange and troubling nature of the appeal engendered by these sights is the subject of The Pathos of the Real. Robert Buch shows that the spectacles of suffering conjured up in these texts are deeply ambivalent, available neither to cathartic relief nor to the sentiment of compassion. What prevails instead is a peculiar coincidence of opposites: exaltation and resignation; disfiguration and transfiguration; agitation and paralysis. Featuring the experiences of violent excess in strongly visual and often in expressly pictorial terms, the works expose the nexus between violence and the image in twentieth-century aesthetics. Buch explores this tension between visual and verbal representation by drawing on the rhetorical notion of pathos as both insurmountable suffering and codified affect and the psychoanalytic notion of the real, that is, the disruption of the symbolic order. In dialogue with a diverse group of thinkers, from Erich Auerbach and Aby Warburg to Alain Badiou and Jacques Lacan, The Pathos of the Real advances an innovative new framework for rethinking the aesthetics of violence in the twentieth century.

In dialogue with a diverse group of thinkers, from Erich Auerbach and Aby Warburg to Alain Badiou and Jacques Lacan, The Pathos of the Real advances an innovative new framework for rethinking the aesthetics of violence in the twentieth century.

Literary Nonfiction. Essays. Winner of the 2015 Essay Collection Competition, Selected by Wayne Koestenbaum. "Rarely have I come across tenderness, venom, and fire held so intimately, so exquisitely, as in Lily Hoang's A BESTIARY. This book would be impressive enough as a collection of finely-forged fragments, but as it weaves itself into an even more impressive whole, my hat came off. Lily Hoang writes like she has nothing to lose and everything at stake."--Maggie Nelson "A BESTIARY is a work of great subtlety, precision, intelligence, daring, and emotive keenness. It seems completely contemporary (by which I mean that it is unlike anything I've read and that it makes me want to change my own writerly procedures). With head-long, reckless, improvisatory gestures, Lily Hoang prompts us to rethink what literature today can dare to aspire to. Her intellectually magnanimous book's position on the threshold between recognizable 'literature' and some other vanguard form of performance/utterance made me feel happy and stimulated and dizzy (in a rapturous way) while I was reading it."--Wayne Koestenbaum "The most perfect use of fragmentation, myth, language, fairytale, and terrible beauty that I have ever seen in my life. I'm swooning. My faith in what writing can be has been restored."--Lidia Yuknavitch

A cultural history of representations of Jesus in nineteenth-century European and American fiction and visual art

This book provides a detailed biography of the artist and poet.

Who'd have thought a potty-mouthed Dublin mammy with a cream cardigan and elasticated tan tights could storm British TV screens and leave a nation helpless with laughter? Brendan O'Carroll performs to tens of thousands of people a night in packed-out stadiums across the country. In the last four years his TV show has become a number 1 ratings success and he's even making a movie. But Brendan has had to battle hard for success. The youngest of eleven children, his mother was Maureen O'Carroll, a former nun who went on to become the first woman to be elected to the Irish parliament. Brendan adored his strong, widowed mother - and she later became the inspiration for his indomitable character Agnes Brown. However, the family endured poverty reminiscent of Angela's Ashes and Brendan saw no option but to leave school at 12 to work. He married young and for decades struggled to make ends meet. Eventually, bankrupt and desperate, Brendan went to see a fortune teller who told him she could see his future achieving worldwide success as a comedian and actor. At first Brendan laughed at the notion, but then he thought of how much his friends loved his gags, and decided to give it a go... This is the magical story of how a loveable Irishman with a wig and a wit as caustic as battery acid surprised everyone - most of all himself - by becoming one of the best-loved comedians in the world. It is a story of hardship, heartbreak, and talent and will remind readers afresh that sometimes the facts can be even more extraordinary than the fiction.