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Offering an insightful examination of Stephen King’s fiction, this book utilises a psychoanalytical approach drawing on Freud’s theory of the uncanny. It demonstrates how entrenched King’s work is in a literary tradition influenced by psychoanalytic theory, as well as the ways that King evades and amends Freud. Such an approach positions King’s texts not simply as objects of interpretation that might yield latent meaning, but as producers of meaning. King can certainly be read through the lens of the uncanny, but this book also aims to consider the uncanny through the lens of King. Organised around specific elements of the uncanny that can be found in King’s fiction, this book explores the themes of death and the return of the dead, monstrosity, telepathy, inanimate objects becoming menacingly animate, and spooky children. Popular texts are considered, such as IT, The Shining, and Pet Sematary, as well as less discussed work, including The Institute, The Regulators and Desperation. The book’s central argument is that King’s uncanny motifs offer insightful commentary on what is repressed in contemporary culture and insist on the failure of scientific rationalism to explain the world. King’s uncanny imaginary rejects dualistic notions of an experiencing self in an inert physical world and insists that psychic experience is bound up with the environmental. This book will be of interest to students and scholars of contemporary and popular literature, gothic and horror studies, and cultural studies.
This book explores the sense in which the uncanny may be a distinctively modern experience, the way these unnerving feelings and unsettling encounters disturb the rational presumptions of the modern world view and the security of modern self-identity, just as the latter may themselves be implicated in the production of these experiences as uncanny.
Excavating Stephen King: A Darwinist Hermeneutic Study of the Fiction combines approaches from science and literary theory to examine the canon of Stephen King’s fiction work in a single critical study. James Arthur Anderson has devised the concept of Darwinist Hermeneutics as a critical tool to combine evolutionary psychology, neuroscience, biology, and literary Darwinism with other more conventional critical theory, including structuralism, narratology, semiotics, and linguistic analysis. Using this theory, Anderson examines King’s works in terms of archetypes and mythology, human universals, affective emotions, and the organization of story to create maximum suspense. This method brings new insights into King’s stories and broader implications for storytelling as a whole.
Brilliant, illuminating criticism from a superstar poet—a refreshing, insightful look at how works of art, specifically poetry and popular music, can serve as essential tools for living. How can art help us make sense—or nonsense—of the world? If wrong life cannot be lived rightly, as Theodor Adorno had it, what weapons and strategies for living wrongly can art provide? With the same intelligence that animates his poetry, Michael Robbins addresses this weighty question while contemplating the idea of how strange it is that we need art at all. Ranging from Prince to Def Leppard, Lucille Clifton to Frederick Seidel, Robbins’s mastery of poetry and popular music shines in Equipment for Living. He has a singular ability to illustrate points with seemingly disparate examples (Friedrich Kittler and Taylor Swift, to W.B. Yeats and Anna Kendrick’s “Cups”). Robbins weaves a discussion on poet Juliana Spahr with the different subsets of Scandinavian black metal, illuminating subjects in ways that few scholars can achieve. Equipment for Living is also a wonderful guide to essential poetry and popular music.
Salman Akhtar is a Professor of Psychiatry, a Training and Supervising Analyst, a member of numerous editorial boards, winner of many awards, including the highly prestigious Sigourney Award, a writer of several hundred articles, a poet, and the author or editor of over one hundred books. A modern-day Renaissance man, his elegant writing is simultaneously scholarly and literary and brings a light touch to profound material. Phoenix Publishing House is proud to present his most inspiring works in a stunning ten-volume hardback set, fit to grace the shelves of collectors and libraries with its high-quality finish.
This unique and timely collection examines childhood and the child character throughout Stephen King’s works, from his early novels and short stories, through film adaptations, to his most recent publications. King’s use of child characters within the framework of horror (or of horrific childhood) raises questions about adult expectations of children, childhood, the American family, child agency, and the nature of fear and terror for (or by) children. The ways in which King presents, complicates, challenges, or terrorizes children and notions of childhood provide a unique lens through which to examine American culture, including both adult and social anxieties about children and childhood across the decades of King’s works.
Interest in the relationship between psychoanalysis and art - and other disciplines - is growing. In his new book Reflections on the Aesthetic: Psychoanalysis and the uncanny, Gregorio Kohon examines and reflects upon psychoanalytic understandings of estrangement, the Freudian notions of the uncanny and Nachträglichkeit, exploring how these are evoked in works of literature and art, and are present in our response to such works. Kohon provides close readings of and insights into the works of Franz Kafka, Jorge Luis Borges, Louise Bourgeois, Juan Muñoz, Anish Kapoor, Richard Serra, Edvard Munch, Kurt Schwitters, amongst others; the book also includes a chapter on the Warsaw Ghetto Monument and the counter-monument aesthetic movement in post-war Germany. Kohon shows how some works of art and literature represent something that otherwise eludes representation, and how psychoanalysis and the aesthetic share the task of making a representation of the unrepresentable. Reflections on the Aesthetic is not an exercise in "applied" psychoanalysis; psychoanalysis and art are considered by the author in their own terms, allowing a new understanding of the aesthetic to emerge. Kohon’s book makes compelling reading for psychoanalysts, psychotherapists, art therapists, literary and art critics, academics, students and all those interested in the matter of the aesthetic.
“Prepare for major goosebumps.” —PopSugar “The must-have for any horror fan.” —Marie Claire An eerie horror debut about a little boy who recovers from a mysterious illness and confronts the shadowy forces behind his new imaginary friend... Kids have imaginary friends. Rachel knows this. So when her young son, Billy, miraculously recovers from a mysterious flu that has proven fatal for many, she thinks nothing of Delfy, his new invisible friend. After all, her family is healthy and that’s all that matters. But soon Delfy is telling Billy what to do, and the boy is acting up and lashing out in ways he never has before. And Billy isn’t the only kid suddenly hearing voices.... Rachel can’t shake the feeling that this is all tied up with the flu, and something—or someone—far more sinister is at play. As rising tensions threaten to tear her family apart, she clings to one purpose: to protect her children at any cost—even from themselves. We Hear Voices is a gripping near-future horror novel that tests the fragility of family and the terrifying gray area between fear and love.
Trauma in Contemporary Literature analyzes contemporary narrative texts in English in the light of trauma theory, including essays by scholars of different countries who approach trauma from a variety of perspectives. The book analyzes and applies the most relevant concepts and themes discussed in trauma theory, such as the relationship between individual and collective trauma, historical trauma, absence vs. loss, the roles of perpetrator and victim, dissociation, nachträglichkeit, transgenerational trauma, the process of acting out and working through, introjection and incorporation, mourning and melancholia, the phantom and the crypt, postmemory and multidirectional memory, shame and the affects, and the power of resilience to overcome trauma. Significantly, the essays not only focus on the phenomenon of trauma and its diverse manifestations but, above all, consider the elements that challenge the aporias of trauma, the traps of stasis and repetition, in order to reach beyond the confines of the traumatic condition and explore the possibilities of survival, healing and recovery.
Unorthodox Minds in Contemporary Fiction seeks to provide an overview of the ways in which broadly understood contemporary fiction envisions, explores and engenders minds going beyond the classical models. The opening essay discusses the complex relationships between such innovative concepts of the mind and experimental techniques for presenting mentality. The chapters which follow focus on (dis)embodied and/or extended mind, virtuality of avatar minds, intermental thought of reader communities, the capability of artificial intelligence (and humans) for genuine selfless love, the interplay between technology and affect in posthuman consciousness. The books under discussion include Murmur by Will Eaves, The Unfortunates by B.S. Johnson, The Satanic Verses by Salman Rushdie, H(A)PPY by Nicola Barker and Machines Like Me by Ian McEwan. A piece of conceptual fiction by Steve Tomasula, one of the most innovative American novelists of our times, exploring the human mind’s alleged power to transcend its biological limits, complements these scholarly inquiries.