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This volume is the continuation of the book Suicide in Modern Literature, edited by Josefa Ros Velasco. Considering the positive reception of this book, Ros Velasco launches the second part, entitled The Contemporary Writer and their Suicide. This time, leading representatives of various disciplines analyze the literary, philosophical, and biographical works of contemporary writers worldwide who attempted to commit suicide or achieved their goal, looking for covert and overt clues about their intentions in their writings. This book aims to continue shedding light on the social and structural causes that lead to suicide and on the suicidal mind, but also to show that people assiduous to writing usually reflect their intentions to commit suicide in their writings, to explain how these frequently veiled intentions can be revealed and interpreted, and to highlight the potential of artistic, philosophical, and autobiographical writing as a tool to detect suicidal ideation and prevent its consummation in vulnerable people. This book analyzes several case studies and their allusions to their contexts and the socio-structural and environmental violence and pressures they suffered, expressions of their will and agency, feelings of dislocation between the individual, reality, and existential alienation, and literary styles, writing techniques, and metaphorical language.
This volume is the continuation of the book Suicide in Modern Literature, edited by Josefa Ros Velasco. Considering the positive reception of this book, Ros Velasco launches the second part, entitled The Contemporary Writer and their Suicide. This time, leading representatives of various disciplines analyze the literary, philosophical, and biographical works of contemporary writers worldwide who attempted to commit suicide or achieved their goal, looking for covert and overt clues about their intentions in their writings. This book aims to continue shedding light on the social and structural causes that lead to suicide and on the suicidal mind, but also to show that people assiduous to writing usually reflect their intentions to commit suicide in their writings, to explain how these frequently veiled intentions can be revealed and interpreted, and to highlight the potential of artistic, philosophical, and autobiographical writing as a tool to detect suicidal ideation and prevent its consummation in vulnerable people. This book analyzes several case studies and their allusions to their contexts and the socio-structural and environmental violence and pressures they suffered, expressions of their will and agency, feelings of dislocation between the individual, reality, and existential alienation, and literary styles, writing techniques, and metaphorical language.
Provides a comprehensive overview of the best writers and works of the current English-speaking literary world.
This book analyzes the social and contextual causes of suicide, the existential and philosophical reasons for committing suicide, and the prevention strategies that modern fictional literature places at our disposal. They go through the review of Modern fictional literature, in the American and European geographical framework, following the rationales that modern literature based on fiction can serve the purpose of understanding better the phenomenon of suicide, its most inaccessible impulses, and that has the potential to prevent suicide. From the turn of the 20th century to the present, debates over the meaning of suicide became a privileged site for efforts to discover the reasons why people commit suicide and how to prevent this behavior. Since the French sociologist and philosopher Émile Durkheim published his study Suicide: A Study in Sociology in 1897, a reframing of suicide took place, giving rise to a flourishing group of researchers and authors devoting their efforts to understand better the causes of suicide and to the formation of suicide prevention organizations. A century later, we still keep on trying to reach such an understanding of suicide, the nature, and nuances of its modern conceptualization, to prevent suicidal behaviors. The question of what suicide means in and for modernity is not an overcome one. Suicide is an act that touches all of our lives and engages with the incomprehensible and unsayable. Since the turn of the millennium, a fierce debate about the state’s role in assisted suicide has been adopted. Beyond the discussion as to whether physicians should assist in the suicide of patients with unbearable and hopeless suffering, the scope of the suicidal agency is much broader concerning general people wanting to die.
First published in 1993, The Virgin Suicides announced the arrival of a major new American novelist. In a quiet suburb of Detroit, the five Lisbon sisters—beautiful, eccentric, and obsessively watched by the neighborhood boys—commit suicide one by one over the course of a single year. As the boys observe them from afar, transfixed, they piece together the mystery of the family’s fatal melancholy, in this hypnotic and unforgettable novel of adolescent love, disquiet, and death. Jeffrey Eugenides evokes the emotions of youth with haunting sensitivity and dark humor and creates a coming-of-age story unlike any of our time. Adapted into a critically acclaimed film by Sofia Coppola, The Virgin Suicides is a modern classic, a lyrical and timeless tale of sex and suicide that transforms and mythologizes suburban middle-American life.
Dazai Osamu (1909-1948) is one of Japan's most famous literary suicides, known as the earliest postwar manifestation of the genuinely alienated writer in Japan. In this first deconstructive reading of a modern Japanese novelist, Alan Wolfe draws on contemporary Western literary and cultural theories and on a knowledge of Dazai's work in the context of Japanese literary history to provide a fresh view of major texts by this important literary figure. In the process, Wolfe revises Japanese as well as Western scholarship on Dazai and discovers new connections among suicide, autobiography, alienation, and modernization. As shown here, Dazai's writings resist narrative and historical closure; while he may be said to serve the Japanese literary establishment as both romantic decadent and representative scapegoat, his texts reveal a deconstructive edge through which his posthumous status as a monument of negativity is already perceived and undone. Wolfe maintains that cultural modernization pits a Western concept of the individual as realized self and coherent subject against an Eastern absent self--and that a felt need to overcome this tension inspires the autobiographical fiction so prevalent in Japanese novels. Suicidal Narrative in Modern Japan shows that Dazai's texts also resist readings that would resolve the gaps (East/West, self/other, modern/premodern) still prevalent in Japanese intellectual life. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
One of TIME's 100 Must-Read Books of 2021 One of BuzzFeed's Best Books of 2021 One of Vulture's Best Books of 2021 Named one of the Most Anticipated of Books of 2021 by the Los Angeles Times, Literary Hub, and The Millions A searing and brave memoir that offers a new understanding of suicide as a distinct mental illness. As the sun lowered in the sky one Friday afternoon in April 2006, acclaimed author Donald Antrim found himself on the roof of his Brooklyn apartment building, afraid for his life. In this moving memoir, Antrim vividly recounts what led him to the roof and what happened after he came back down: two hospitalizations, weeks of fruitless clinical trials, the terror of submitting to ECT—and the saving call from David Foster Wallace that convinced him to try it—as well as years of fitful recovery and setback. Through a clear and haunting reckoning with the author’s own story, One Friday in April confronts the limits of our understanding of suicide. Donald Antrim’s personal insights reframe suicide—whether in thought or in action—as an illness in its own right, a unique consequence of trauma and personal isolation, rather than the choice of a depressed person. A necessary companion to William Styron’s classic? Darkness Visible, this profound, insightful work sheds light on the tragedy and mystery of suicide, offering solace that may save lives.
Suicide cannot be read as simply another novel—it is, in a sense, the author’s own oblique, public suicide note, a unique meditation on this most extreme of refusals. Presenting itself as an investigation into the suicide of a close friend—perhaps real, perhaps fictional—more than twenty years earlier, Levé gives us, little by little, a striking portrait of a man, with all his talents and flaws, who chose to reject his life, and all the people who loved him, in favor of oblivion. Gradually, through Levé’s casually obsessive, pointillist, beautiful ruminations, we come to know a stoic, sensible, thoughtful man who bears more than a slight psychological resemblance to Levé himself. But Suicide is more than just a compendium of memories of an old friend; it is a near-exhaustive catalog of the ramifications and effects of the act of suicide, and a unique and melancholy farewell to life.
Reading the Contemporary Author brings together leading scholars in cultural theory, literary criticism, stylistics, narratology, comparative literature, and autobiography studies to interrogate how we read the contemporary author in public and cultural life, in life writing, and in literature.
This title was first published in 1980. In twentieth century Japanese literature, the opposition and interaction of realism and romanticism on the level of literary concepts, and of Marxism and aestheticism (including, in part, modernism) on the level of literary ideology, supplies a most vital basis for writers searching for new methods of literary expression, fostering debates among the writers and creating the setting for active experimentation with style, form and language. This study is a result of an extended stay in the United States by the author who turned increasingly toward questioning and evaluating my own relation to Japan's literary heritage. For Japanese who have witnessed (at least intellectually) the violent attraction to and rejection of foreign cultures of many of their predecessors in the Meiji, Taisho and Showa eras, and their final, often sentimental and abstract, glorification of the Japanese cultural heritage, nihon kaiki (return to Japan) still presents enormously complex intellectual as well as emotional problems.