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Lingering and its decried equivalents, such as dawdling, idling, loafing, or lolling about, are both shunned and coveted in our culture where time is money and where there is never quite enough of either. Is lingering lazy? Is it childish? Boring? Do poets linger? (Is that why poetry is boring?) Is it therapeutic? Should we linger more? Less? What happens when we linger? Harold Schweizer here examines an experience of time that, though common, usually passes unnoticed. Drawing on a wide range of philosophic and literary texts and examples, On Lingering and Literature exemplifies in its style and accessible argumentation the new genre of post-criticism, and aims to reward anyone interested in slow reading, daydreaming, or resisting our culture of speed and consumption.
'This is a quite remarkable book, a pleasure to read. Not only is it clear and informative but also by turns witty, melancholic and insightful. The book is astonishingly erudite, but wears this learning so lightly and so charmingly that it is both easy and gripping to read.' Robert Eaglestone, Royal Holloway, University of London Penelope waits by her loom for Odysseus, Vladimir and Estragon wait for Godot, all of us have to wait: for buses, phone calls and the kettle to boil. But do we know what the checking of one's watch and pacing back and forth is really all about? What is the relationship between waiting and time? Is there an ethics of waiting, or even an art of waiting? Do the internet, online shopping and text messaging mean that waiting has come to an end? On Waiting explores such and similar questions in compelling fashion. Drawing on some fascinating examples, from the philosopher Henri Bergson's musings on a lump of sugar to Kate Croy waiting in Wings of the Dove to the writings of Rilke, Bishop, and Carver, On Waiting examines this ever-present yet overlooked phenomenon from diverse angles in fascinating style. On Waiting is the first book to present a philosophy of waiting. Philosophy/Literature
This literary and cultural study explores the practice in nineteenth-century Britain of treasuring objects that had belonged to the dead.
"Robison's minimalism is more like a slap in the face: it's short, it stings, and you wonder who in tarnation did that to you." —The New York Times Enter Eve. Based in New Orleans, she's a location scout for a movie production company and complacently married to Adam. ""Now you know,"" she says. ""Our names really didn't bother me that much until the mail started arriving addressed to 'Adam and Eve Broussard.'"" He's just been diagnosed with a grave illness and gone back to the palatial family home where his parents reside. It's all just fine with Eve—or so she tells herself at the beginning. But standing left of center in this still–prosperous but mortally wounded family does not get easier as the weeks wear on. As she negotiates her way around the anger of Adam's despised twin brother Saunders, maintains her friendship with his beautiful and volatile wife Petal, and protects what's left of the innocence of her niece Collie, Eve finds more than the Louisiana heat oppressive.
In his philosophical reflections on the art of lingering, acclaimed cultural theorist Byung-Chul Han argues that the value we attach today to the vita activa is producing a crisis in our sense of time. Our attachment to the vita activa creates an imperative to work which degrades the human being into a labouring animal, an animal laborans. At the same time, the hyperactivity which characterizes our daily routines robs human beings of the capacity to linger and the faculty of contemplation. It therefore becomes impossible to experience time as fulfilling. Drawing on a range of thinkers including Heidegger, Nietzsche and Arendt, Han argues that we can overcome this temporal crisis only by revitalizing the vita contemplativa and relearning the art of lingering. For what distinguishes humans from other animals is the capacity for reflection and contemplation, and when life regains this capacity, this art of lingering, it gains in time and space, in duration and vastness.
In this interdisciplinary work, Stacy J. Lettman explores real and imagined violence as depicted in Caribbean and Jamaican text and music, how that violence repeats itself in both art and in the actions of the state, and what that means for Caribbean cultural identity. Jamaica is known for having one of the highest per capita murder rates in the world, a fact that Lettman links to remnants of the plantation era—namely the economic dispossession and structural violence that still haunt the island. Lettman contends that the impact of colonial violence is so embedded in the language of Jamaican literature and music that violence has become a separate language itself, one that paradoxically can offer cultural modes of resistance. Lettman codifies Paul Gilroy's concept of the "slave sublime" as a remix of Kantian philosophy through a Caribbean lens to take a broad view of Jamaica, the Caribbean, and their political and literary history that challenges Eurocentric ideas of slavery, Blackness, and resistance. Living at the intersection of philosophy, literary and musical analysis, and postcolonial theory, this book sheds new light on the lingering ghosts of the plantation and slavery in the Caribbean.
Expanding the world of his classic-in-the-making debut novel Early Work, Andrew Martin’s Cool for America is a hilarious collection of overlapping stories that explores the dark zone between artistic ambition and its achievement The collection is bookended by the misadventures of Leslie, a young woman (first introduced in Early Work) who moves from New York to Missoula, Montana to try to draw herself out of a lingering depression, and, over the course of the book, gains painful insight into herself through a series of intense friendships and relationships. Other stories follow young men and women, alone and in couples, pushing hard against, and often crashing into, the limits of their abilities as writers and partners. In one story, two New Jersey siblings with substance-abuse problems relapse together on Christmas Eve; in another, a young couple tries to make sense of an increasingly unhinged veterinarian who seems to be tapping, deliberately or otherwise, into the unspoken troubles between them. In tales about characters as they age from punk shows and benders to book clubs and art museums, the promise of community acts—at least temporarily—as a stay against despair. Running throughout Cool for America is the characters’ yearning for transcendence through art: the hope that, maybe, the perfect, or even just the good-enough sentence, can finally make things right.