Dream on
Dai Smith
"'Dream on' is a black comedy, a flashlight noir thriller, a meditation on the lives and stories that connect up the frayed wires in the business of living" - dust jacket.

by Julius Rowan Raper (1992)
By the mid-195Os, when Saul Bellow published Seize the Day, French existentialism and the phenomenological view of humankind that underlies it had become popular enough in the United States and England for leading novelists to begin dealing critically with its fundamental assumptions. Taking as its starting point the critique of existentialism's phenomenological background derived from Edmund Husserl and elaborated by Martin Heidegger and Jean-Paul Sartre, Julius Rowan Raper's Narcissus from Rubble delves into the intellectual assumptions that lie behind eleven of the most influential and challenging novels created by Bellow, Thomas Pynchon, John Fowles, Jerzy Kosinski, John Barth, and Lawrence Durrell. Raper sees the central conflict of twentieth-century humanistic inquiry as the modern opposition between psychology and philosophy. He dramatizes the competition in the novels between the phenomenological model of human behavior and a variety of models associated with psychoanalysis, especially those created by Sigmund Freud, Carl Jung, and Heinz Kohut. He argues that despite numerous efforts to fuse phenomenology and psychoanalysis, the two conceptions of personality have been fundamentally opposed to each other since Husserl's original description of phenomenology. The book underscores the irony that while much contemporary literary criticism continues to draw on a phenomenologically based view of character derived in part from the essays of Jacques Lacan, our leading novelists for a quarter century have been warning us in major novels such as Henderson the Rain King, V., and The Magus of the rage, compulsiveness, emptiness, pointlessness, fragmentation, and associated dangers to which taking a phenomenological stance may contribute. Raper finds that all six novelists worked through the intellectual maze that Freud called narcissism, as well as through the hazards of self-transcendence, to a new understanding of narcissism that is less judgmental and more perceptive than Freud's earlier formulation. It is this struggle--first to comprehend the dangers of the self-transcending tendencies of our culture, and then to become completely true to ourselves beyond the roles imposed on us by life--that creates the drama Raper detects as the common component in the works studied in this book. Raper's approach offers exciting insights into some fascinating and difficult literary texts. By revealing the common concern on which they rest, he provides the reader with an illuminating way to approach other contemporary works of literature.
Dai Smith
"'Dream on' is a black comedy, a flashlight noir thriller, a meditation on the lives and stories that connect up the frayed wires in the business of living" - dust jacket.
Howard Kerr, John W. Crowley, and Charles L. Crow
Contents: Washington Irving and the American Ghost Story • essay by G. Richard Thompson [as by G. R. Thompson ] Phantasms and Death in Poe's Fiction • essay by J. Gerald Kennedy Philanthropy and the Occult in the Fiction of Hawthorne, Brownson, and Melville • essay by Carolyn L. Karcher "I must have died at ten minutes past one": Posthumous Reverie in Harriet Prescott Spofford's "The Amber Gods" • essay by Barton Levi St. Armand Ghostly Rentals, Ghostly Purchases: Haunted Imaginations in James, Twain, and Bellamy • essay by Jay Martin James's Last Early Supernatural Tales: Hawthorne Demagnetized, Poe Depoetized • essay by Howard Kerr Psychology and the Psychic in W. D. Howell's "A Sleep and a Forgetting" • essay by Charles L. Crow and John W. Crowley "When Other Amusements Fail": Mark Twain and the Occult • essay by Alan Gribben Jack London: Up from Spiritualism • essay by Charles N. Watson, Jr. The Color of "The Damned Thing": The Occult as the Supersensational • essay by Cruce Stark
Georgette Heyer
The spirited and independent Miss Annis Wychwood is a beautiful heiress, and hopelessly single, has twenty-nine and well past the age for falling in love. When she sponsored young pretty Miss Lucilla Carleton's "coming out," the town's social elite were shocked. After all, how could Annis find Lucilla a husband when she could not choose one for herself? Then Lucilla's handsome and egotistical uncle and guardian, Mr. Oliver Carleton, arrived to approve the sponsorship. But when Annis embroils herself in the affairs of the runaway heiress, Lucilla, she is destined to see a great deal of her fugitive's uncivil and high-handed guardian, Oliver. Befriending the wayward girl brings unexpected consequences, among them the conflicting emotions aroused by her guardian, whose reputation as the rudest man in London precedes him. Chafing at the restrictions of Regency society in Bath, Annis has to admit that at least Carleton is never boring. And his brash and rakish manner quickly succumbed to the will of Annis, this remarkable heiress no man had yet subdued. Outrageous as he is, the charming Annis ends up finding him absolutely irresistible.
Jana Evans Braziel
"By exploring the breadth of Jamaica Kincaid's writings, this book reveals her work's transmutations of genre, specifically those of autobiography, biography, and history in relation to the forces of creation and destruction in the Caribbean. Jana Evans Braziel examines Kincaid's preoccupation with genealogy, genesis, and genocide in the Caribbean; her adaptations of biblical texts for her literary oeuvre; and her authorial deployments of the diabolic as frames for both rethinking the boundaries of genre and altering notions of subjectivity, objectivity, self, and other." --Book Jacket.