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The author asks a big question: Who is responsible? One person in need of this information is Lon, who wonders why his marriage is falling apart. Lon thought his wife would re-initiate intimacy at some point. She doesn’t, and he sets out to find the man he thinks stands between them but only finds an apparition—and he still can’t fix his marriage.

In another story, the LDS prophet is drawn to s simpler time when he could wander out unnoticed and buy a candy bar. Church Security won’t let him outside on his own and Public Relations won’t let him wear anything but a suit and tie. Still, the impulse to be a regular guy for an afternoon is compelling. Can’t he make his own decisions? He can, but what are the consequences?

And then there’s Jerry, who passes three men in suits who are talking and laughing at the loading dock behind an LDS temple. One of them looks up, drops a cigarette and crushes it, then slips into a nearby car. Another man—someone who has made Jerry’s life miserable—taunts him, saying: “Jerry, your goodness is your enemy …and tell all your friends.” Who is responsible? Maybe it’s the author’s reverie that’s to blame, but his stories have a way of getting deep inside the psyche and haunting us.  

Forrest Shreve (1878-1950) was an internationally known plant ecologist who spent most of his career at the Carnegie Institution's Desert Laboratory in Tucson, Arizona. Shreve's contributions to the study of plant ecology laid the groundwork for modern studies and several of his works came to be regarded as classics by ecologists worldwide. This first full-length study of Shreve's life and work demonstrates that he was more than a desert ecologist. His early work in Maryland and Jamaica gave him a breadth of expertise matched by few of his ecological contemporaries, and his studies of desert plant demography, the physiological ecology of rain-forest plants, and vegetational gradients on southwestern mountain ranges anticipated by decades recent trends in ecology.

Tracing Shreve's development from student to scientist, Bowers evokes the rigors and delights of fieldwork in the first half of this century and shows how Shreve's sense of place informed his scientific thought—making him, in his own words, "not an exile from some better place, but a man at home in an environment to which his life can be adjusted without physical or intellectual loss."

In May 1906, the Atlantic Monthly commented that Americans live not merely in an age of things, but under the tyranny of them, and that in our relentless effort to sell, purchase, and accumulate things, we do not possess them as much as they possess us. For Bill Brown, the tale of that possession is something stranger than the history of a culture of consumption. It is the story of Americans using things to think about themselves.

Brown's captivating new study explores the roots of modern America's fascination with things and the problem that objects posed for American literature at the turn of the century. This was an era when the invention, production, distribution, and consumption of things suddenly came to define a national culture. Brown shows how crucial novels of the time made things not a solution to problems, but problems in their own right. Writers such as Mark Twain, Frank Norris, Sarah Orne Jewett, and Henry James ask why and how we use objects to make meaning, to make or remake ourselves, to organize our anxieties and affections, to sublimate our fears, and to shape our wildest dreams. Offering a remarkably new way to think about materialism, A Sense of Things will be essential reading for anyone interested in American literature and culture.

Scott Dill’s A Theology of Sense: John Updike, Embodiment, and Late Twentieth-Century American Literature brings together theology, aesthetics, and the body, arguing that Updike, a central figure in post-1945 American literature, deeply embeds in his work questions of the body and the senses with questions of theology. Dill offers new understandings not only of the work of Updike—which is importantly being revisited since the author’s death in 2009—but also new understandings of the relationship between aesthetics, religion, and physical experience. Dill explores Updike’s unique literary legacy in order to argue for a genuinely postsecular theory of aesthetic experience. Each chapter takes up one of the five senses and its relation to broader theoretical concerns: affect, subjectivity, ontology, ethics, and theology. While placing Updike’s work in relation to other late twentieth-century American writers, Dill explains their notions of embodiment and uses them to render a new account of postsecular aesthetics. No other novelist has portrayed mere sense experience as carefully, as extensively, or as theologically—repeatedly turning to the doctrine of creation as his stylistic justification. Across this examination of his many stories, novels, poems, and essays, Dill proves that Updike forces us to reconsider the power of literature to revitalize sense experience as a theological question.

Communities of Sense argues for a new understanding of the relation between politics and aesthetics in today’s globalized and image-saturated world. Established and emerging scholars of art and culture draw on Jacques Rancière’s theorization of democratic politics to suggest that aesthetics, traditionally defined as the “science of the sensible,” is not a depoliticized discourse or theory of art, but instead part of a historically specific organization of social roles and communality. Rather than formulating aesthetics as the Other to politics, the contributors show that aesthetics and politics are mutually implicated in the construction of communities of visibility and sensation through which political orders emerge.

The first of the collection’s three sections explicitly examines the links between aesthetics and social and political experience. Here a new essay by Rancière posits art as a key site where disagreement can be staged in order to produce new communities of sense. In the second section, contributors investigate how sense was constructed in the past by the European avant-garde and how it is mobilized in today’s global visual and political culture. Exploring the viability of various models of artistic and political critique in the context of globalization, the authors of the essays in the volume’s final section suggest a shift from identity politics and preconstituted collectivities toward processes of identification and disidentification. Topics discussed in the volume vary from digital architecture to a makeshift museum in a Paris suburb, and from romantic art theory in the wake of Hegel to the history of the group-subject in political art and performance since 1968. An interview with Étienne Balibar rounds out the collection.

Contributors. Emily Apter, Étienne Balibar, Carlos Basualdo, T. J. Demos, Rachel Haidu, Beth Hinderliter, David Joselit, William Kaizen, Ranjanna Khanna, Reinaldo Laddaga, Vered Maimon, Jaleh Mansoor, Reinhold Martin, Seth McCormick, Yates McKee, Alexander Potts, Jacques Rancière, Toni Ross

Can today’s society, increasingly captivated by a constant flow of information, share a sense of history? How did our media-making forebears balance the tension between the present and the absent, the individual and the collective, the static and the dynamic—and how do our current digital networks disrupt these same balances? Can our social media, with its fleeting nature, even be considered social at all?   
          In Friending the Past, Alan Liu proposes fresh answers to these innovative questions of connection. He explores how we can learn from the relationship between past societies whose media forms fostered a communal and self-aware sense of history—such as prehistorical oral societies with robust storytelling cultures, or the great print works of nineteenth-century historicism—and our own instantaneous present. He concludes with a surprising look at how the sense of history exemplified in today’s JavaScript timelines compares to the temporality found in Romantic poetry.
          Interlaced among these inquiries, Liu shows how extensive “network archaeologies” can be constructed as novel ways of thinking about our affiliations with time and with each other. These conceptual architectures of period and age are also always media structures, scaffolded with the outlines of what we mean by history. Thinking about our own time, Liu wonders if the digital, networked future can sustain a similar sense of history.

Any landscape has an unseen component: a subjective component of experience, memory, and narrative which people familiar with the place understand to be an integral part of its geography but which outsiders may not suspect the existence of—unless they listen and read carefully. This invisible landscape is make visible though stories, and these stories are the focus of this engrossing book.

Traveling across the invisible landscape in which we imaginatively dwell, Kent Ryden—himself a most careful listener and reader—asks the following questions. What categories of meaning do we read into our surroundings? What forms of expression serve as the most reliable maps to understanding those meanings? Our sense of any place, he argues, consists of a deeply ingrained experiential knowledge of its physical makeup; an awareness of its communal and personal history; a sense of our identity as being inextricably bound up with its events and ways of life; and an emotional reaction, positive or negative, to its meanings and memories.

Ryden demonstrates that both folk and literary narratives about place bear a striking thematic and stylistic resemblance. Accordingly, Mapping the Invisible Landscape examines both kinds of narratives. For his oral materials, Ryden provides an in-depth analysis of narratives collected in the Coeur d'Alene mining district in the Idaho panhandle; for his consideration of written works, he explores the “essay of place,” the personal essay which takes as its subject a particular place and a writer's relationship to that place.

Drawing on methods and materials from geography, folklore, and literature, Mapping the Invisible Landscape offers a broadly interdisciplinary analysis of the way we situate ourselves imaginatively in the landscape, the way we inscribe its surface with stories. Written in an extremely engaging style, this book will lead its readers to an awareness of the vital role that a sense of place plays in the formation of local cultures, to an understanding of the many-layered ways in which place interacts with individual lives, and to renewed appreciation of the places in their own lives and landscapes.

Political philosophy has long been bound by traditional thinking about the body and the senses. Through an engagement with the state-centered vocabulary of this discipline, Politics of Touch explores the ways in which sensing bodies continually run up against existing political structures. In this groundbreaking work, Erin Manning reconsiders how new politics can arise that challenge the national body politic.

In Politics of Touch, Manning develops a new way to conceive the role of the senses, and of touch in particular. Exploring concepts of violence, gender, sexuality, security, democracy, and identity, she traces the ways in which touch informs and reforms the body. Specifically considering tango-a tactile, rhythmic, and improvisational dance- she foregrounds movement as the sensing body's intervention into the political. With a fresh vision and an original theoretical basis, Manning shows the ontogenetic potential of the body, and in doing so, redefines our understanding of the sense of touch in philosophical and political terms.  

Erin Manning is assistant professor of fine arts at Concordia University and the author of Ephemeral Territories (Minnesota, 2003).

Written between 1945 and 1947, the essays in Sense and Non-Sense provide an excellent introduction to Merleau-Ponty's thought. They summarize his previous insights and exhibit their widest range of application-in aesthetics, ethics, politics, and the sciences of man. Each essay opens new perspectives to man's search for reason.

The first part of Sense and Non-Sense, "Arts," is concerned with Merleau-Ponty's concepts of perception, which were advanced in his major philosophical treatise, Phenomenology of Perception. Here the analysis is focused and enriched in descriptions of the perceptual world of Cezanne, the encounter with the Other as expressed in the novels of Simone de Beauvoir and Sartre, and the gestalt quality of experience brought out in the film art form. In the second part, "Ideas," Merleau-Ponty shows how the categories of the phenomenology of perception can be understood as an outgrowth of the behavioral sciences and how a model of existence based on perception sensitizes us to the insights and limitations of previous philosophies and suggests constructive criticisms of contemporary philosophy. The third part, "Politics," clarifies the political dilemmas facing intellectuals in postwar France.

Sense and Uncertainty presents a phenomenological account of the possibility of rational action amid the challenges posed by violence, volatile conditions, uncertain outcomes, and social dependence. The book asks us to consider the following:

• We are often forced through violence to do things that do not make sense for us except to avoid retaliations, punishments, or the various evils that others might inflict on us.
• We inhabit a world that escapes our control. This involves living in uncertainty concerning the things that we might suffer and do, that is, the things that might happen to us and the results of our actions.
• We are dependent on others and collaborate with them in ways that make it impossible to fully understand the sense of our own actions and practical intentions.

Rationality involves insightful thinking about the world and our emotional responses to it, something we do in our everyday lives, whether consciously or without awareness. Sense and Uncertainty attempts to make explicit and to clarify the implications of this conceptually neglected aspect of our rationality: namely, that it involves paying attention to our emotions and values. An ethical life in which we can act meaningfully in the face of violence and uncertainty, and in which we can make sense of our vulnerability and dependence on others, demands that we think about and seek insight into how we love, why we hope, and in whom or in what we trust. The phenomenological ethics presented in Sense and Uncertainty draws on the works of Western canonical philosophers like Edmund Husserl, Max Scheler, Simone de Beauvoir, Anthony Steinbock, and José Ortega y Gasset, as well as on those of Latin American thinkers such as Luis Villoro, Rita Segato, and Augusto Salazar Bondy, among others.

From a cartographer who wrote to a writer who mapped, the literary significance of surveying is revealed in this study of human relationships to the landscape. From the very beginning, American literature was closely intertwined with surveying. In Surveying the Interior, Rick Van Noy explores the ways that four American literary cartographers—Henry David Thoreau, Clarence King, John Wesley Powell, and Wallace Stegner—concerned themselves with what it means to map or survey a place and what it means to write about it. In the process, he helps define the ways by which space enters the human psyche as definable place, as well as the ways by which physical landscape is transmuted into a sense of place as an intimate, personal manifestation of both physical and existential realities.

In The Birth of Sense, Don Beith proposes a new concept of generative passivity, the idea that our organic, psychological, and social activities take time to develop into sense. More than being a limit, passivity marks out the way in which organisms, persons, and interbodily systems take time in order to manifest a coherent sense. Beith situates his argument within contemporary debates about evolution, developmental biology, scientific causal explanations, psychology, postmodernism, social constructivism, and critical race theory. Drawing on empirical studies and phenomenological reflections, Beith argues that in nature, novel meaning emerges prior to any type of constituting activity or deterministic plan.

The Birth of Sense is an original phenomenological investigation in the style of Maurice Merleau-Ponty, and it demonstrates that the French philosopher’s works cohere around the notion that life is radically expressive. While Merleau-Ponty’s early works are widely interpreted as arguing for the primacy of human consciousness, Beith argues that a pivotal redefinition of passivity is already under way here, and extends throughout Merleau-Ponty’s corpus. This work introduces new concepts in contemporary philosophy to interrogate how organic development involves spontaneous expression, how personhood emerges from this bodily growth, and how our interpersonal human life remains rooted in, and often thwarted by, domains of bodily expressivity.

Sound has given rise to many rich theoretical reflections, but when compared to the study of images, the study of sound continues to be marginalized. How is the “sense” of sound constituted and elaborated linguistically, textually, technologically, phenomenologically, and geologically, as well as acoustically? How is sound grasped as an object? Considering sound both within and beyond the scope of the human senses, contributors from literature, film, music, philosophy, anthropology, media and communication, and science and technology studies address topics that range from Descartes’s resonant subject to the gendering of hearing physiology in the nineteenth century, Cold War politics and the opera Nixon in China, sounds from the Mediterranean, the poetics of signal processing, and the acousmatic voice in the age of MP3s. In the interpretive challenges posed by voice, noise, antinoise, whispering, near inaudibility, and silence and in the frequent noncoincidence of emission and reception, sound confronts us with what might be called its inhuman qualities—its irreducibility to meaning, to communication, to information, and even to recognition and identification.

Rey Chow is Anne Firor Scott Professor of Literature at Duke University. She is the author of The Age of the World Target and Modern Chinese Literary and Cultural Studies in the Age of Theory, both published by Duke University Press.

James A. Steintrager is Professor and Chair of English at the University of California, Irvine.

Contributors: Caroline Bassett, Eugenie Brinkema, Iain Chambers, Michel Chion, Rey Chow, Mladen Dolar, Veit Erlmann, Evan Johnson, Christopher Lee, Mara Mills, John Mowitt, Dominic Pettman, Tara Rodgers, Nicholas Seaver, James A. Steintrager, Jonathan Sterne,

An essential exploration of sense and meaning.

Is there a “world” anymore, let alone any “sense” to it? Acknowledging the lack of meaning in our time, and the lack of a world at the center of meanings we try to impose, Jean-Luc Nancy presents a rigorous critique of the many discourses-from philosophy and political science to psychoanalysis and art history-that talk and write their way around these gaping absences in our lives.

In an original style befitting his search for a new mode of thought, Nancy offers fragmentary readings of writers such as Nietzsche, Hegel, Marx, Lévinas, Lacan, Derrida, and Deleuze insofar as their work reflects his concern with sense and the world. Rather than celebrate or bemoan the loss of meaning or attempt to install a new one, his book seeks to reposition both sense and the world between the presence and absence of meaning, between objectivity and subjectivity. Nancy’s project entails a reconception of the field of philosophy itself, a rearticulation of philosophical practice. Neither recondite nor abstract, it is concerned with the existence and experience of freedom-the actuality of existence as experienced by contemporary communities of citizens, readers, and writers.

Combining aesthetic, political, and philosophical considerations to convey a sense of the world between meaning and reality, ideal content and material form, this book offers a new way of understanding-and responding to-“the end of the world.”  

Jean-Luc Nancy teaches at the University of Human Sciences in Strasbourg. His books in English include The Literary Absolute (with Philip Lacoue-Labarthe, 1988), The Inoperative Community (Minnesota, 1991), The Birth to Presence (1993), The Experience of Freedom (1993), and The Muses (1996).

Jeffrey S. Librett is associate professor of modern languages and literatures at Loyola University of Chicago.

Although hailed, alongside Nelson Mandela and Oliver Tambo, as one of the African National Congress’s holy trinity, Walter Sisulu has remained a relatively neglected figure in the historiography of the struggle for liberation in South Africa. Modest and unassuming, Sisulu was always content to stay in the background in a way that has long belied his importance. This nuanced and highly original biography, drafted by political historian Tom Lodge before his untimely death, provides a powerful corrective. Lodge describes Sisulu as an exceptional organizer, the most influential planner of the ANC’s mass campaigning during the 1950s, a principled but undoctrinaire communist, and like Mandela, an advocate of the necessity of armed struggle. He also served as the careful navigator of the ambiguous relationship between the ANC and Umkhonto we Sizwe, and Lodge details how Sisulu, with his exceptional grasp of the subtleties of fact and law, confounded the prosecution as he sat in the dock in the Rivonia trial. Sentenced to life imprisonment with his fellow defendants, Sisulu became a calming influence amid the divisive ideological debates that took place on Robben Island, as well as a constant source of strength and support to Mandela. After his 1989 release from jail—ahead of Mandela—he again demonstrated his prowess as the chief organizer of the ANC as it reestablished itself ahead of the 1994 elections. Sociologist Roger Southall stepped in to complete Lodge’s detailed analysis of Sisulu’s commitment and contribution to South African freedom, an encomium that Walter Sisulu richly deserves.