Addressed to both classicists and students of modern culture, Odyssean Identities in Modern Cultures: The Journey Home traces the Odyssey’s central theme of homecoming in a wide range of narratives from the late nineteenth to the early twenty-first century. Accounts of the journey home in novels, plays, lyric poems, paintings, and a television series explore the challenges of returning from a long absence to reclaim a former life.
 
These retellings raise fresh questions about the relationship between home and the identities we expect to find rooted there and stress the elusiveness of a satisfying homecoming. They remind us that the Odyssey’s happy ending is itself qualified by the hero’s unsettled future, the violence of his return, and the independent desires of his friends and family members. At the same time, they highlight new obstacles to homecoming posed by the modern world with its political and economic upheavals, newly configured family relations and gender roles, and diminished confidence in the stability of identity. The authors discussed include Charlotte Yonge, James Joyce, Virginia Woolf, Rebecca West, George Seferis, Yannis Ritsos, Gwendolyn Brooks, Charles Frazier, W. B. Sebald, Marilynne Robinson, and Zachary Mason.

In this remarkable blend of sophisticated philosophical analysis and close reading of literary texts, Richard Eldridge presents a convincing argument that literature is the most important and richest source of insights in favor of a historicized Kantian moral philosophy. He effectively demonstrates that only through the interpretation of narratives can we test our capacities as persons for acknowledging the moral laws as a formula of value and for acting according to it.

Eldridge presents an extensive new interpretation of Kantian ethics that is deeply informed by Kant's aesthetics. He defends a revised version of Kantian universalism and a Kantian conception of the content of morality. Eldridge then turns to literature armed not with any a priori theory but with an interpretive stance inspired by Hegel's phenomenology of self-understanding, more or less naturalized, and by Wittgenstein's work on self-understanding as ongoing narrative-interpretive activity, a stance that yields Kantian results about the universal demands our nature places on itself.

Eldridge goes on to present readings of novels by Conrad and Austen and poetry by Wordsworth and Coleridge. In each text protagonists are seen to be struggling with moral conflicts and for self-understanding as moral persons. The route toward partial resolution of their conflicts is seen to involve multiple and ongoing activities of reading and interpreting. The result of this kind of interpretation is that such literature—literature that portrays protagonists as themselves readers and interpreters of human capacities for morality—is a primary source for the development of morally significant self-understanding. We see in the careers of these protagonists that there can be genuine and fruitful moral deliberation and valuable action, while also seeing how situated and partial any understanding and achievement of value must remain.

On Moral Personhood at once delineates the moral nature of persons; shows various conditions of the ongoing, contextualized, partial acknowledgment of that nature and of the exercise of the capacities that define it; and enacts an important way of reading literature in relation to moral problems. Eldridge's work will be important reading for moral philosophers (especially those concerned with Kant, Hegel, and issues dividing moral particularists from moral universalists), literary theorists (especially those concerned with the value of literature and its relation to philosophy and to moral problems), and readers and critics of Conrad, Wordsworth, Coleridge, and Austen.

     “In our imaginations, war is the name we give to the extremes of violence in our lives, the dark dividing opposite of the connecting myth, which we call love. War enacts the great antagonisms of history, the agonies of nations; but it also offers metaphors for those other antagonisms, the private battles of our private lives, our conflicts with one another and with the world, and with ourselves.”
 
Samuel Hynes knows war personally: he served as a Marine Corps pilot in the Pacific Theater during World War II, receiving the Distinguished Flying Cross. He has spent his life balancing two careers: pilot and professor of literature. Hynes has written a number of major works of literary criticism, as well as a war-memoir, Flights of Passage, and several books about the World Wars. His writing is sharp, lucid, and has provided some of the most expert, detailed, and empathetic accounts of a disappearing generation of fighters and writers.
            On War and Writing offers for the first time a selection of Hynes’s essays and introductions that explore the traditions of war writing from the twentieth century to the present. Hynes takes as a given that war itself—the battlefield uproar of actual combat—is unimaginable for those who weren’t there, yet we have never been able to turn away from it. We want to know what war is really like: for a soldier on the Somme; a submariner in the Pacific; a bomber pilot over Germany; a tank commander in the Libyan desert. To learn, we turn again and again to the memories of those who were there, and to the imaginations of those who weren’t, but are poets, or filmmakers, or painters, who give us a sense of these experiences that we can’t possibly know.
           The essays in this book range from the personal (Hynes’s experience working with documentary master Ken Burns, his recollections of his own days as a combat pilot) to the critical (explorations of the works of writers and artists such as Thomas Hardy, E. E. Cummings, and Cecil Day-Lewis). What we ultimately see in On War and Writing is not military history, not the plans of generals, but the feelings of war, as young men expressed them in journals and poems, and old men remembered them in later years—men like Samuel Hynes.