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Reflecting upon his own prior experiences as Writer, PhD Student embarks on an ethnographic research project which seeks to explain the relationship between Boys’ creative writing and identity. A view of identity as performance is adopted, a main cast of year 6 Boys is assembled, and the stage of the year 6 primary classroom and the secondary school is set. Undertaking participant observation, PhD Student sends his reflections as emails to PhD Supervisor but as their dialogue takes hold, questions relating to the problematic nature of research and representation proliferate. Which identity is PhD Student performing in the classroom: himself, Mr Dobson, Writer or Tom? Is self-reflexivity enough? To what extent can the Boys’ identities ever be known? Rather than silencing these problems, PhD Student looks for a form of writing which lays bare the messiness of research. He rejects the linearity of the traditional form and writes his thesis as a self-conscious fiction: a dialogue on a train between himself, a post/structuralist academic, and You, a humanist non-academic. As PhD Student’s data is analysed, critiqued and deconstructed from both essentialist and interpretivist perspectives, the impossibility of objective representation is explored. Within its own frame of reference, PhD Student’s analysis of the Boys’ writing offers a theoretical framework for thinking about creative writing in terms of identity and agency. However, the thesis-script itself is primarily a methodological critique: one that shows that no matter what is written on pages, between the words, between the letters, there will always be the Unnamable.
Naming the Unnameable: An Approach to Poetry for the New Generation assembles a wide range of poetry from contemporary poets, along with history, advice, and guidance on the craft of poetry. Informed by a consideration to the psychology of invention, Michelle Bonczek Evory¿s writing philosophy emphasizes both spontaneity and discipline, teaching students how to capture the chaos in our memories, imagination, and bodies with language, and discovering ways to mold them into their own cosmos, sculpt them like clay on a page. Exercises aim to make writing a form of play in its early stages that gives way to more enriching insights through revision, embracing the writing of poetry as both a love of language and a tool that enables us to explore ourselves and understand the world. Naming the Unnameable promotes an understanding of poetry as a living art and provides ways for students to involve themselves in the growing contemporary poetry community that thrives in America today.
The iconic trilogy of novels by the era-defining Nobel laureate, relaunched for a new generation. I can't go on, I'll go on. Molloy: a sordid vagrant riding his bicycle through the countryside, sucking stones, on a quest for his mother. Moran: a private detective sent on his trail, investigating his crimes - but soon to deteriorate alongside him. Malone: an octogenarian man on his deathbed, naked in piles of blankets, wiling away the time with stories - writing, reminiscing, raging, surviving. The Unnameable: an armless and legless creature from a nameless place, weeping and watching in his urn, orbited by visitors outside a chop-house. Together, these selves speak, debate, exist: the prose as alive, or more, than them. 'The master innovator of them all.' Guardian
Tourists, terrorists, secularists, hackers, fundamentalists, transhumanists, algorithmicians- in this book Roberto Calasso considers the tribes that inhabit and inform the world today. A world that feels more elusive than ever before. Yet once contrasted with the period between 1933 and 1945, when the world made a partially successful attempt at self-annihilation, the new millennium begins to take on an unprecedented form. What emerges is something illusory, ever-shifting and occasionally murderous- the unnamable present. This book, the ninth part of a work in progress,is a meditation on the obscure and ubiquitous process of transformation happening in societies today, where distant echoes of Auden's The Age of Anxiety give way to something altogether more unsettling.
A boy and a goatman defy the establishment in a whimsical fantasy about belonging, the dangers of forgetting history, the Usefulness of art, and the importance of wind control.
Christians face a conundrum when it comes to naming God, for if God is unnamable, as theologians maintain, he can also be called by every name. His proper name is thus an open-ended, all-encompassing list, a mystery the Church embraces in its rhetoric, but which many Christians have found difficult to accept. To explore this conflict, Valentina Izmirlieva examines two lists of God’s names: one from The Divine Names, the classic treatise by Pseudo-Dionysius, and the other from The 72 Names of the Lord, an amulet whose history binds together Kabbalah and Christianity, Jews and Slavs, Palestine, Provence, and the Balkans. This unexpected juxtaposition of a theological treatise and a magical amulet allows Izmirlieva to reveal lists’ rhetorical potential to create order and to function as both tools of knowledge and of power. Despite the two different visions of order represented by each list, Izmirlieva finds that their uses in Christian practice point to a complementary relationship between the existential need for God’s protection and the metaphysical desire to submit to his infinite majesty—a compelling claim sure to provoke discussion among scholars in many fields.
In this urgent outpouring of American voices, our poets speak to us as they shelter in place, addressing our collective fear, grief, and hope from eloquent and diverse individual perspectives. “One of the best books of poetry of the year . . . Quinn has accomplished something dizzying here: arranged a stellar cast of poets . . . It is what all anthologies must be: comprehensive, contradictory, stirring.” —The Millions **Featuring 107 poets, from A to Z—Julia Alvarez to Matthew Zapruder—with work in between by Jericho Brown, Billy Collins, Fanny Howe, Ada Limón, Sharon Olds, Tommy Orange, Claudia Rankine, Vijay Seshadri, and Jeffrey Yang** As the novel coronavirus and its devastating effects began to spread in the United States and around the world, Alice Quinn reached out to poets across the country to see if, and what, they were writing under quarantine. Moved and galvanized by the response, the onetime New Yorker poetry editor and recent former director of the Poetry Society of America began collecting the poems arriving in her inbox, assembling this various, intimate, and intricate portrait of our suddenly altered reality. In these pages, we find poets grieving for relatives they are separated from or recovering from illness themselves, attending to suddenly complicated household tasks or turning to literature for strength, considering the bravery of medical workers or working their own shifts at the hospital, and, as the Black Lives Matter movement has swept the globe, reflecting on the inequities in our society that amplify sorrow and demand our engagement. From fierce and resilient to wistful, darkly humorous, and emblematically reverent about the earth and the vulnerability of human beings in frightening times, the poems in this collection find the words to describe what can feel unspeakably difficult and strange, providing wisdom, companionship, and depths of feeling that enliven our spirits. A portion of the advance for this book was generously donated by Alice Quinn and the poets to Chefs for America, an organization helping feed communities in need across the country during the pandemic.
In The Unnamable Archipelago: Wounds of the Postcolonial in Postwar Japanese Literature and Thought, Dennitza Gabrakova discusses how the island imagery in the works by Imafuku Ryūta, Ukai Satoshi, Ōba Minako, Ariyoshi Sawako, Hino Keizō, Ikezawa Natsuki, Shimada Masahiko and Tawada Yōko shapes a critical understanding of Japan on multiple intersections of trauma and sovereignty. The book attempts an engagement with the vocabulary of postcolonial critique, while attending to the complexity of its translation into Japanese.
Focusing on the breadth of issues that affect psychotherapy with African American women, this unique volume is designed to help clinicians develop a broader understanding of what is useful and what is problematic when applying psychodynamic concepts to their clients. From an array of seasoned clinicians, chapters present innovative and creative reformulations of theory and technique that build upon and challenge existing models. Issues addressed include the psychological dilemmas confronting diverse African American women as they negotiate a society that is hostile to them on multiple levels; how ethnicity, class, gender, sexual orientation and other differences come into play within the therapeutic dyad; and approaches to unraveling the complex interplay of sociopolitical, intrapsychic, and interpersonal concerns in treatment. Filled with illustrative clinical material and pointers for practice, the volume will enhance the cultural competence of mental heath practitioners and students across a range of disciplines.
From Homer's Outis—“No One,” or “Non-One,” “No Man,” or “Non-Man”—to “soul,” “spirit,” and the unnamable. Homer recounts how, trapped inside a monster's cave, with nothing but his wits to call upon, Ulysses once saved himself by twisting his name. He called himself Outis: “No One,” or “Non-One,” “No Man,” or “Non-Man.” The ploy was a success. He blinded his barbaric host and eluded him, becoming anonymous, for a while, even as he bore a name. Philosophers never forgot the lesson that the ancient hero taught. From Aristotle and his commentators in Greek, Arabic, Latin, and more modern languages, from the masters of the medieval schools to Kant and his many successors, thinkers have exploited the possibilities of adding “non-” to the names of man. Aristotle is the first to write of “indefinite” or “infinite” names, his example being “non-man.” Kant turns to such terms in his theory of the infinite judgment, illustrated by the sentence, “The soul is non-mortal.” Such statements play major roles in the philosophies of Maimon, Fichte, Schelling, Hegel, and Hermann Cohen. They are profoundly reinterpreted in the twentieth century by thinkers as diverse as Carnap and Heidegger. Reconstructing the adventures of a particle in philosophy, Daniel Heller-Roazen seeks to show how a grammatical possibility can be an incitement for thought. Yet he also draws a lesson from persistent examples. The philosophers' infinite names all point to one subject: us. “Non-man” or “soul,” “Spirit” or “the unconditioned,” we are beings who name and name ourselves, bearing witness to the fact that we are, in every sense, unnamable.