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Sofya Khagi’s Pelevin and Unfreedom: Poetics, Politics, Metaphysics is the first book-length English-language study of Victor Pelevin, one of the most significant and popular Russian authors of the post-Soviet era. The text explores Pelevin’s sustained Dostoevskian reflections on the philosophical question of freedom and his complex oeuvre and worldview, shaped by the idea that contemporary social conditions pervert that very notion.

Khagi shows that Pelevin uses provocative and imaginative prose to model different systems of unfreedom, vividly illustrating how the present world deploys hyper-commodification and technological manipulation to promote human degradation and social deadlock. Rather than rehearse Cold War–era platitudes about totalitarianism, Pelevin holds up a mirror to show how social control (now covert, yet far more efficient) masquerades as freedom and how eagerly we accept, even welcome, control under the techno-consumer system. He reflects on how commonplace discursive markers of freedom (like the free market) are in fact misleading and disempowering. Under this comfortably self-occluding bondage, the subject loses all power of self-determination, free will, and ethical judgment. In his work, Pelevin highlights the unprecedented subversion of human society by the techno-consumer machine. Yet, Khagi argues, however circumscribed and ironically qualified, he holds onto the emancipatory potential of ethics and even an emancipatory humanism.

Thomas Pavel has written extensively on poetics, linguistics, and narratology. In this book he proposes an original theory and methodology of plot analysis—a reading that draws upon the most fruitful aspects of literary structuralism and upon contemporary linguistic models (specifically generative grammar). Theorists have tended to use formal plot analysis to examine relatively simple literary artifacts, like folk tales and short stories; Pavel, however, applies his model to a group of English Renaissance tragedies and demonstrates that plot analysis can make a major contribution to the understanding of sophisticated literary texts.

Too often literary criticism is academic exercise rather than creative act. For the multifaceted Julio Ortega—respected poet, dramatist, and novelist in his own right—the act of criticism becomes profoundly creative, his incisive readings of the text far transcending the pedantry that may falsely pass for imagination, intelligence, and rigor. Nearly every Spanish-American writer of consequence, from Paz to Fuentes, Cortázar to Lezama Lima, has extolled Ortega’s criticism as not merely a reflection but an essential part of the renaissance that took place in Spanish-American letters during the late twentieth century.

Poetics of Change brings together Ortega’s most penetrating and insightful analyses of the fiction of Borges, Fuentes, García Márquez, Carpentier, Rulfo, Cabrera Infante, and others responsible for great writing from Spanish America. Ortega concerns himself most with the semantic innovations of these masters of the modern narrative and their play with form, language, and the traditional boundaries of genre. Mapping their creative territory, he finds that the poetics of Spanish-American writing is that of a dynamically changing genre that has set exploration at its very heart.

Experimental poetry responded to historical change in the decades after World War II, with an attitude of such casual and reckless originality that its insights have often been overlooked. However, as Benjamin Lee argues, to ignore the scenes of self and the historical occasions captured by experimental poets during the 1950s and 1960s is to overlook a rich and instructive resource for our own complicated transition into the twenty-first century.

Frank O’Hara and fellow experimental poets like Amiri Baraka, Diane di Prima, and Allen Ginsberg offer us a set of perceptive responses to Cold War culture, lyric meditations on consequential changes in U.S. social life and politics, including the decline of the Old Left, the rise of white-collar workers, and the emergence of vernacular practices like hipsterism and camp. At the same time, they offer us opportunities to anatomize our own desire for historical significance and belonging, a desire we may well see reflected and reconfigured in the work of these poets.

An essential reflection on the haunting legacy of the transatlantic slave trade from award-winning French filmmaker and writer Fabienne Kanor.

A century and a half after the passage of the last known slave ship, the hold—in which captives were imprisoned together under inhuman conditions—still haunts collective memory, particularly that of Afro-descendant artists, thinkers, and writers. With The Poetics of the Hold, scholar, writer, and filmmaker Fabienne Kanor offers a series of meditations on the transatlantic slave trade and on how the experience of the Middle Passage has been represented in modern culture of the United States, Francophone Africa, and the French West Indies.

In this important book, Kanor draws from a multitude of sources—history, literature, art, philosophy, the Négritude tradition, and Caribbean thinkers—to take readers on a journey from colonial archives to public spaces, museums, and other places of commemoration. Throughout, the image of the hold serves as a spectral monument, the traumatic reverberations of which can be felt in both the texts Kanor examines and in her own writing. While archives, logbooks, and sea reports provide information about slave ships, the stories of the slaves themselves too often remain shrouded in silence. This powerful and poetic book seeks to rectify that amnesia and to wrestle with these neglected histories and their afterlives.

A vivid exploration of how early modern literature transformed the law of the sea into a rich imaginative realm of maritime space and poetic possibility

Poetics of the Legal Sea in English Renaissance Literature is a richly layered study that traces how early modern writers imagined the sea as both a legal landscape and a site of narrative possibility. Through an interdisciplinary lens, the book illuminates the ways literary forms conceptualized the maritime laws that governed the early modern world. Its narrative moves fluidly between legal frameworks and poetic language, revealing a dynamic exchange between artistic expression and the systems that regulated life at sea.

Hayley Cotter’s analysis charts a metaphorical voyage, guiding readers from the calm departure of genre and jurisdiction through turbulent encounters with piracy, shipwreck, and salvage. Plays and poems become vessels that carry ideas about authority, justice, and sovereignty, while rhetorical devices such as metaphor, synecdoche, and metonymy deepen the imaginative pull of maritime experience. This journey foregrounds the cognitive effects of literary language, showing how early modern authors engaged with legal culture in ways that often moved beneath the surface of conscious thought.

As the chapters progress, literary texts become active participants in shaping understandings of law and maritime space. Shakespearean drama, Elizabethan pirate tales, sonneteering traditions, and anonymous sea poems all contribute to a vibrant conversation about how societies negotiated law and commerce on the open water. Bringing together readers interested in early modern literature, maritime history, and interdisciplinary inquiry, Poetics of the Legal Sea in English Renaissance Literature offers a compelling exploration of how the ocean’s vast, shifting expanse inspired new ways of thinking about power and the stories that give shape to legal life.

This book reflects a conscious attempt to follow the general model of Martin Heidegger’s Zollikon Seminars, in which Heidegger engaged psychiatrists and psychologists in a sustained dialogue aimed at developing their critical awareness of the unexamined philosophical foundations informing their everyday clinical practice. Wender draws on Heidegger to argue that “praxis is poetry” and from this standpoint interprets all social action as intentional creation (or “poiesis”), which by its very nature is intrinsically meaningful. Using an interpretive framework that he calls a “phenomenological aesthetics of encounter,” Wender takes up a number of case studies of police-citizen encounters, including cases of domestic violence, contacts with juveniles, drug-related situations, instances of mental and emotional crisis, and death.