The writer Hari Kunzru says “made me feel better about the Apocalypse than I have in ages” is back—with a hilarious coming-of-age love story The unruly undergraduates at Cambridge have a nickname for their new lecturer: Wittgenstein Jr. He’s a melancholic, tormented genius who seems determined to make them grasp the very essence of philosophical thought. But Peters—a working-class student surprised to find himself among the elite—soon discovers that there’s no place for logic in a Cambridge overrun by posh boys and picnicking tourists, as England’s greatest university is collapsing under market pressures. Such a place calls for a derangement of the senses, best achieved by lethal homemade cocktails consumed on Cambridge rooftops, where Peters joins his fellows as they attempt to forget about the void awaiting them after graduation, challenge one another to think so hard they die, and dream about impressing Wittgenstein Jr with one single, noble thought. And as they scramble to discover what, indeed, they have to gain from the experience, they realize that their teacher is struggling to survive. For Peters, it leads to a surprising turn—and for all of them, a challenge to see how the life of the mind can play out in harsh but hopeful reality. Combining his trademark wit and sharp brilliance, Wittgenstein Jr is Lars Iyer’s most assured and ambitious novel yet—as impressive, inventive and entertaining as it is extraordinarily stirring.

In a work of blistering dark hilarity, a young Nietzsche experiences life in a metal band & the tribulations of finals season in a modern secondary school When a new student transfers in from a posh private school, he falls in with a group of like-minded suburban stoners, artists, and outcasts—too smart and creative for their own good. His classmates nickname their new friend Nietzsche (for his braininess and bleak outlook on life), and decide he must be the front man of their metal band, now christened Nietzsche and the Burbs. With the abyss of graduation—not to mention their first gig—looming ahead, the group ramps up their experimentations with sex, drugs, and...nihilist philosophy. Are they as doomed as their intellectual heroes? And why does the end of youth feel like such a universal tragedy? And as they ponder life's biggies, this sly, elegant, and often laugh-out-loud funny story of would-be rebels becomes something special: an absorbing and stirring reminder of a particular, exciting yet bittersweet moment in life...and a reminder that all adolescents are philosophers, and all philosophers are adolescents at heart.

Table of Contents " Preface " Introductory " The Wittgensteinian Paradox " The Solution and the 'Private Language' Argument " Postscript Wittgenstein and Other Minds " Index.

What does 'literature' mean in our time? While names like Proust, Kafka and Woolf still stand for something, what that something actually is has become obscured by the claims of commerce and journalism. Perhaps a new form of attention is required. Stephen Mitchelmore began writing online in 1996 and became Britain's first book blogger soon after, developing the form so that it can respond in kind to the singular space opened by writing. Across 44 essays, he discusses among many others the novels of Richard Ford, Jeanette Winterson and Karl Ove Knausgaard, the significance for modern writers of cave paintings and the moai of Easter Island, and the enduring fallacy of 'Reality Hunger', all the while maintaining a focus on the strange nature of literary space. By listening to the echoes and resonances of writing, this book enables a unique encounter with literature that many critics habitually ignore. With an introduction by the acclaimed novelist Lars Iyer, This Space of Writing offers a renewed appreciation of the mystery and promise of writing.

This collection examines the relationship between Augustine and Wittgenstein and demonstrates the deep affinity they share, not only for the substantive issues they treat but also for the style of philosophizing they employ. Wittgenstein saw certain salient Augustinian approaches to concepts like language-learning, will, memory, and time as prompts for his own philosophical explorations, and he found great inspiration in Augustine’s highly personalized and interlocutory style of writing philosophy. Each in his own way, in an effort to understand human experience more fully, adopts a mode of philosophizing that involves questioning, recognizing confusions, and confronting doubts. Beyond its bearing on such topics as language, meaning, knowledge, and will, their analysis extends to the nature of religious belief and its fundamental place in human experience. The essays collected here consider a broad range of themes, from issues regarding teaching, linguistic meaning, and self-understanding to miracles, ritual, and religion.

In the most comprehensive account to date of Walter Benjamin’s philosophy of language, Alexander Stern explores the nature of meaning by putting Benjamin in dialogue with Wittgenstein. Known largely for his essays on culture, aesthetics, and literature, Walter Benjamin also wrote on the philosophy of language. This early work is famously obscure and considered hopelessly mystical by some. But for Alexander Stern, it contains important insights and anticipates—in some respects surpasses—the later thought of a central figure in the philosophy of language, Ludwig Wittgenstein. As described in The Fall of Language, Benjamin argues that “language as such” is not a means for communicating an extra-linguistic reality but an all-encompassing medium of expression in which everything shares. Borrowing from Johann Georg Hamann’s understanding of God’s creation as communication to humankind, Benjamin writes that all things express meanings, and that human language does not impose meaning on the objective world but translates meanings already extant in it. He describes the transformations that language as such undergoes while making its way into human language as the “fall of language.” This is a fall from “names”—language that responds mimetically to reality—to signs that designate reality arbitrarily. While Benjamin’s approach initially seems alien to Wittgenstein’s, both reject a designative understanding of language; both are preoccupied with Russell’s paradox; and both try to treat what Wittgenstein calls “the bewitchment of our understanding by means of language.” Putting Wittgenstein’s work in dialogue with Benjamin’s sheds light on its historical provenance and on the turn in Wittgenstein’s thought. Although the two philosophies diverge in crucial ways, in their comparison Stern finds paths for understanding what language is and what it does.

Joachim Schulte's introduction provides a distinctive and masterful account of the full range of Wittgenstein's thought. It is concise but not compressed, substantive but not overloaded with developmental or technical detail, informed by the latest scholarship but not pedantic. Beginners will find it accessible and seasoned students of Wittgenstein will appreciate it for the illuminating overview it provides.

The pioneering composer and music theorist makes his final on the totality of his work and thought in these three wide-ranging dialogues. “I was obliged to find a radical way to work ― to get at the real, at the root of the matter,” John Cage says in this trio of dialogues, completed just days before his death. This quest led him beyond the bounds of convention in all his musical, written, and visual pieces. The resulting expansion of the definition of art earned him a reputation as one of America's most influential contemporary artists. Joan Retallack's conversations with Cage explore his artistic production in its entirety. Cage's comments range from his theories of chance and indeterminate composition to his long-time collaboration with Merce Cunningham to the aesthetics of his multimedia works. In her comprehensive introduction, Retallack describes Cage’s lifelong project as “dislodging cultural authoritarianism and gridlock by inviting surprising conjunctions within carefully delimited frameworks and processes.” Consummate performer to the end, Cage delivers here just such a conjunction ― a tour de force that provides new insights into the man and a clearer view of the status of art in the twentieth century.

In a raucous debut that summons up Britain's fabled Goon Squad comedies, writer and philosopher Lars Iyer tells the story of someone very like himself with a "slightly more successful" friend and their journeys in search of more palatable literary conferences and better gin. One reason for their journeys: the narrator's home is slowly being taken over by a fungus that no one seems to know what to do about. Before it completely swallows his house, the narrator feels compelled to solve some major philosophical questions (such as "Why?") and the meaning of his urge to write, as well as the source of the fungus ... before it is too late. Or, he has to move.

Searching for rigor and a clear grasp of the essential features of their objects of investigation, philosophers are often driven to exaggerations and harmful simplifications. According to Ludwig Wittgenstein's provocative suggestion, this has to do with confusions relating to the status of philosophical statements. The Struggle against Dogmatism elucidates his view that there are no theses, doctrines, or theories in philosophy. Even when this claim is taken seriously, explanations of what it means are problematic--typically involving a relapse to theses. This book makes Wittgenstein's philosophical approach comprehensible by presenting it as a response to specific problems relating to the practice of philosophy, in particular the problem of dogmatism. Although the focus of this book is on Wittgenstein's later work, Oskari Kuusela also discusses Wittgenstein's early philosophy as expressed in the Tractatus, as well as the relation between his early and later work. In the light of this account of Wittgenstein's critique of his early thought, Kuusela is able to render concrete what Wittgenstein means by philosophizing without theses or theories. In his later philosophy, Kuusela argues, Wittgenstein establishes a non-metaphysical (though not anti-metaphysical) approach to philosophy without philosophical hierarchies. This method leads to an increase in the flexibility of philosophical thought without a loss in rigor.