What is the relationship between aesthetic presentation of thought and scientific conceptions of cognition? Torsa Ghosal’s Out of Mind: Mode, Mediation, and Cognition in Twenty-First-Century Narrative answers this question by offering incisive commentary on a range of contemporary fictions that combine language, maps, photographs, and other images to portray thought. Situating literature within groundbreaking debates on memory, perception, abstraction, and computation, Ghosal shows how stories not only reflect historical beliefs about how minds work but also participate in their reappraisal. 

Out of Mind makes a compelling case for understanding narrative forms and cognitive-scientific frameworks as co-emergent and cross-pollinating. To this end, Ghosal harnesses narrative theory, multimodality studies, cognitive sciences, and disability studies to track competing perspectives on remembering, reading, and sense of place and self. Through new readings of the works of Kamila Shamsie, Aleksandar Hemon, Mark Haddon, Lance Olsen, Steve Tomasula, Jonathan Safran Foer, and others, Out of Mind generates unique insights into literary imagination’s influence on how we think and perceive amid twenty-first-century social, technological, and environmental changes.

This absorbing new study discusses theories of interpretation and construction of the self in six important contemporary novels. In semiotic analyses of John Barth's LETTERS, Vladimir Nabokov's Pale Fire, John Hawkes' Travesty, Thomas Pynchon's Gravity's Rainbow, Stanley Elkin's The Franchiser, and Flannery O'Connor's Wise Blood, Patrick O'Donnell argues that contemporary fiction takes interpretation as its subject and as the very impetus for its making.

In an introductory dialogue and a closing chapter on the reader in contemporary fiction, O'Donnell shows that the formation of the reader's self, like character, plot, or any other element in fiction, is also part of the experience of the text, requiring a distinctive conception of interpretation. Calling upon a wide assemblage of modern theorists including Foucault, Derrida, Serres, Binswanger, Geertz, and Gadamer, O'Donnell elicits a broad range of interpretive possibilities—philosophical, psychological, archaeological, and linguistic—which speak to each novel's central concern with the act of reading as a form of signification.

While Passionate Doubts is broadly a hermeneutic study of contemporary fiction, the heart of this intriguing work resides in the close scrutiny of six modern novels which so richly evoke the very elements from which theories derive: language, form, and impulse. It is this specific application of theory that sets Passionate Doubts apart from other works in the field, yielding a series of important insights on the subject of language, sign, and the self in modern literature.

For the first time in almost half a century, the world of Hopkins is examined as an indivisible whole. The Split World of Gerard Manley Hopkins is a synthetic study of Hopkins's writings, written within a framework of semiotic phenomenology.