An authoritative scholarly 2010 edition of Swift's satiric masterpiece, with full textual apparatus and annotation.

It is thought that Swift was opposed to the new science that heralded the beginning of the modern age, but this book interrogates that assumption, tracing the theological, political, and socio-cultural resonances of scientific knowledge in the early eighteenth century, and considering what they can reveal about Swift's imagination.

Sometime toward the middle of 1689, a twenty­one-year-old Irishman named Jonathan Swift entered the employ of Sir William Temple, an essayist and retired diplomat. Swift spent most of the next decade working as secretary at Moor Park, Temple's country house in Surrey. When he left in 1699, he was already a satirist of exceptional power. Drawing upon considerable new documentary evidence, Swift at Moor Park represents the most exhaustive study yet published about this formative period in Swift's literary career and challenges traditional assumptions and conclusions concerning those years. A. C. Elias begins with the work Swift actually did as Temple's secretary-amanuensis, the one area of Swift's Moor Park experience for which a good portion of documentary evidence survives. He collates and thoroughly evaluates the more traditional biographical evidence that has been cited over the years and applies his findings to careful analyses of Swift's earliest poems and prose works. Included among these are portions of the celebrated Tale of a Tub, as they seem to work in a Moor Park context for Moor Park readers. The results are as unexpected as they are likely to prove controversial, with clear implications about the nature and workings of Swift's satiric method throughout his career. The Swift who emerges is equally unexpected—betraying hints of a fondness for mischief, a basic sense of pragmatism, and a disconcertingly original intelligence—yet for all that remains a remarkably elusive figure and perhaps, as Elias suggests, an unknowable one in the end. If Swift at Moor Park investigates Swift's personality and the genesis of his satiric art, it is equally concerned with methodology—with the testing and evaluating of evidence, with its ability to support valid generalization, with the relationship between biographical knowledge and literary criticism, and with the peculiar temptations and pitfalls that Swift, perhaps more than any other figure of his time, provides for those who set out to explain him. A close analysis of a crucial decade in Swift's life, this volume is essential for the scholar of this central figure in English literature.

A shocking and extreme interpretation of culture, history, and the father of psychoanalysis. In Life Against Death: The Psychoanalytical Meaning of History, social philosopher Norman O. Brown radically analyzes and critiques the work of Sigmund Freud. Brown attempts to define a non-repressive civilization, draws parallels between psychoanalysis and the theology of Martin Luther, and also examines the revolutionary themes present in western religious thought, such as ideas found in the work of William Blake and Jakob Böhme. “Life Against Death cannot fail to shock, if it is taken personally; for it is a book which does not aim at eventual reconciliation with the views of common sense. The highest praise one can give to Brown’s book is that, apart from its all-important attempt to penetrate and further the insights of Freud, it is the first major attempt to formulate an eschatology of immanence in the seventy years since Nietzsche.” —Susan Sontag “One of the most interesting and valuable works of our time. Brown’s contribution to moral thought . . . cannot be overestimated. His book is far-ranging, thoroughgoing, extreme, and shocking. It gives the best interpretation of Freud I know.” —Lionel Trilling

Swift's Narrative Satires is an analysis of one of the major critical controversies about Swift's works: the relationship of author to text. Everett Zimmerman questions the conventional claim that narrative satire is necessarily a vehicle for conveying final judgments. He maintains instead that Swift requires the reader to search for the principle of authority that validates the satire, thereby implicitly challenging the authority of any author.