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Ashore sees mystery and spirituality in common nature, in the last of winter leaves and the green mountains that are covered by traffic. It sees violence, also, which everyone shares in a floating island of plastic or an albatross’ exploded stomach. In these poems, Nakashani is humble, responsible, and caring about the places she inhabits. Her poems ask us to care for what is small and specific in our own places, and they restore a kind of faith in these. To Nakashani, “it is enough, this tiny orbit, the spider’s quivering step.”

People have long imagined themselves as rooted creatures, bound to the earth—and nations—from which they came. In Rootedness, Christy Wampole looks toward philosophy, ecology, literature, history, and politics to demonstrate how the metaphor of the root—surfacing often in an unexpected variety of places, from the family tree to folk etymology to the language of exile—developed in twentieth-century Europe.

Wampole examines both the philosophical implications of this metaphor and its political evolution. From the root as home to the root as genealogical origin to the root as the past itself, rootedness has survived in part through its ability to subsume other compelling metaphors, such as the foundation, the source, and the seed. With a focus on this concept’s history in France and Germany, Wampole traces its influence in diverse areas such as the search for the mystical origins of words, land worship, and nationalist rhetoric, including the disturbing portrayal of the Jews as an unrooted, and thus unrighteous, people. Exploring the works of Martin Heidegger, Simone Weil, Jean-Paul Sartre, Paul Celan, and many more, Rootedness is a groundbreaking study of a figure of speech that has had wide-reaching—and at times dire—political and social consequences. 

According to the National Institute of Mental Health, more than half of the world's population will have a depressive disorder at some point in their lifetimes. In The Aesthetics of Disengagement Christine Ross shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image. Ross examines the works of Ugo Rondinone, Rosemarie Trockel, Ken Lum, John Pilson, Liza May Post, Vanessa Beecroft, and Douglas Gordon, articulating how their art conveys depression's subjectivity and addresses a depressed spectator whose memory and perceptual faculties are impaired. Drawing from the fields of psychoanalysis as well as psychiatry, Ross demonstrates the ways in which a body of art appropriates a symptomatic language of depression to enact disengagement - marked by withdrawl, radical protection of the self from the other, distancing signals, isolation, communication ruptures, and perceptual insufficiency. Most important, Ross reveals the ways in which art transforms disengagement into a visual strategy of disclosure, a means of reaching the viewer, and how in this way contemporary art puts forth a new understanding of depression.

Richard Schacht has long argued that alienation theory can shed important light upon aspects of life in the modern world and upon our human predicament. The essays here call for a rethinking of a variety of forms of alienation in light of contemporary dynamics and a clearer understanding of the dialectic of human selfhood and social participation.
 
They call for a renewed interest in alienation theory; they counter the myth that, with the collapse of the Soviet empire, Marx's thinking has been "refuted"; and they argue for an enhanced sensitivity to the problem of how we describe, interpret, and evaluate the world around us in light of the complexity and diversity that alienation theory reveals.