Misanthropic tales of the macabre and the outre with a unique blend of the grotesque and the perverse. Enter the Lovecraftian universe of screaming horrors and Cthulhuvian insanity. Experience dark wonders and fantastic tales in bizarre worlds. These visions are what nightmares are made of. Throbbing at the heart of it all is the grotesque Lord Weyrdgliffe and his web of penny dreadfuls. In addition: bleak, satirical stories and essays with subjects ranging from the serious to the outrageous and hilarious, plus dark poetry. This collection has it all. Artwork by Allen Koszowski. Foreword by S. T. Joshi. ""I cannot speculate who his authorial parents are, perhaps Andre Breton, Jorge Luis Borges and Thomas Ligotti."" DON WEBB ""The works of Dan Clore collected in this collection are rare jewels of imaginative fiction ... Dan Clore is a mad monk, recording the fantastical histories of an insane alternate universe." SEAN O'LEARY"

"On March 6, 1998, a disgruntled employee went on a rampage at the Connecticut Lottery Corporation, killing four executives before turning the gun on himself. The tragedy made headlines and topped newscasts across the country for weeks. In The Unspeakable, Denise Brown, who lost her husband in the shootings, gives voice to the deeper part of the story left untold by the tabloids." "The Unspeakable is based on the author's journal entries of the year following her husband's death - a record of debilitating nightmares and fears, of fruitless encounters with cooperation and state officials, of the struggle to help her children cope with the loss of a devoted father. It charts a path from bitterness to hope, and reveals the difficult steps that a survivor must take to move beyond rage and rise above the profound and complicated grief that is the legacy of violence."--BOOK JACKET.

A master of the personal essay candidly explores love, death, and the counterfeit rituals of American life in this "brave, funny compendium" (Slate) Nearly fifteen years after her debut collection, My Misspent Youth, captured the ambitions and anxieties of a generation, Meghan Daum returns to the personal essay with The Unspeakable, a powerful collection of ten new works. Where her previous collection explores what it is to be a struggling twenty-something urban dweller with an overdrawn bank account and oversized ambition, The Unspeakable contends with parental death, the decision not to have children, and more-a new set of challenges tackled by a writer at her best, investigated in the same uncompromising voice that made Daum one of the most engaging thinkers writing today. In The Unspeakable, Daum pushes back against the false sentimentality and shrink-wrapped platitudes that surround so much of the contemporary American experience. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the New Age search for the "Best Possible Experience," champions the merits of cream-of-mushroom-soup casserole, and gleefully recounts a quintessential "only-in-L.A." story of playing charades at a famous person's home. Combining the piercing insight of Joan Didion with humor reminiscent of Nora Ephron's, Daum dissects our culture's most dangerous illusions while retaining her own joy and compassion. Through it all, she dramatizes the search for an authentic self in a world where achieving an identity is never simple and never complete.

A guide to hope and healing after the death of a child, from a grief counselor and psychotherapist who has been there. Nisha Zenoff lost her son in a tragic accident when he was just seventeen years old. Now, with decades of experience as a grief counselor and psychotherapist, she offers support and guidance from her own journey and from others who have experienced the death of a child. The Unspeakable Loss helps those who mourn to face the urgent questions that accompany loss: "Will my tears ever stop?" "Who am I now without my child?" "How can I help my other children cope?" "I lost my only child, how do I live?" "Will my marriage survive?" "Will life ever feel worth living again?" No matter where you are in your grieving process, The Unspeakable Loss provides a space to mourn in your own way, and helps you understand how the death of a child affects siblings, other family members and friends, recognizing that we each grieve differently. And while there is no one prescription for healing, Zenoff provides tools to practice the important aspects of grieving that are easily forgotten -- self-compassion and self-care. The Unspeakable Loss doesn't flinch from the reality or pain caused by the death of a child, yet ultimately it is a book about the choice to embrace life, love, and joy again. As Zenoff writes in the Preface: "Our relationships with our children do not end with their deaths. Our relationships change, they're transformed, but our children will always be with us."

This book examines the writing of David Foster Wallace, hailed as the voice of a generation on his death. Critics have identified horror of solipsism, obsession with sincerity and a corresponding ambivalence regarding postmodern irony, and detailed attention to contemporary culture as the central elements of Wallace's writing. Clare Hayes-Brady draws on the evolving discourses of Wallace studies, focusing on the unifying anti-teleology of his writing, arguing that that position is a fundamentally political response to the condition of neo-liberal America. She argues that Wallace's work is most unified by its resistance to closure, which pervades the structural, narrative and stylistic elements of his writing. Taking a broadly thematic approach to the numerous types of 'failure', or lack of completion, visible throughout his work, the book offers a framework within which to read Wallace's work as a coherent whole, rather than split along the lines of fiction versus non-fiction, or pre- and post-Infinite Jest, two critical positions that have become dominant over the last five years. While demonstrating the centrality of 'failure', the book also explores Wallace's approach to sincere communication as a recurring response to what he saw as the inane, self-absorbed commodification of language and society, along with less explored themes such as gender, naming and heroism. Situating Wallace as both a product of his time and an artist sui generis, Hayes-Brady details his abiding interest in philosophy, language and the struggle for an authentic self in late-twentieth-century America.

Adham Hamed explores how a metaphoric understanding of the Middle East as an open space full of resonating sound bodies can be applied to the Middle East Conflict. Through inquiring into the experienced truths of large-scale political violence, the author suggests that music carries a potential for speaking ‘unspeakable’ truths. He explores hidden layers by applying the transrational approach to peace studies and proposes a non-territorial understanding of conflict. Hamed argues that security and justice discourses make up the dominant primary themes in this context. The Jerusalem Youth Chorus and the Egyptian band Eskenderella are examined as case studies. This book uncovers where their truths meet within and beyond the restrictions of formalized language. The author concludes that in moments of experienced resonance there is potential for change in the dynamics of rigid conflicts.

Are dual relationships always detrimental? Speaking the Unspeakable provides an in-depth exploration of client-practitioner dual relationships, offering critical discussion and sustained narrative on thinking about and being in dual relationships. Lynne Gabriel draws on the experiences of both practitioners and clients to provide a clear summary of the complex and multidimensional nature of dual relationships. The beneficial as well as detrimental potential of such relationships is discussed and illustrated with personal accounts. Subjects covered include: · roles and boundaries in dual and multiple role relationships · client experiences and perceptions of being in dual and multiple role relationships · developing a relational ethic for complex relationships This book offers an insightful and challenging portrayal of dual relationships that will be welcomed by therapists, trainers, trainees and supervisors.

This book studies the literary and cinematic functions of the pornographic as a development from a poetics of obscenity. It focuses on the developments of French, British, and American artistic pornography since the eighteenth century. Discussing female literary figures including Hall, Wharton, Nin, “Reage,” Jong, and Shulman; such men as Cleland, Sade, Beardsley, Lawrence, Joyce, and Miller; and film makers such as Brakhage, Jack Smith, Bruce Conner, Bertolucci, Oshima, and Wertmuller; Michelson analyzes both the use of aesthetic pornography and the philosophical, cultural, and legal implications of its use. He proposes that realizing the obscene —in the sense of speaking the unspeakable— is the principle aesthetic function of pornography.

The breach of art from religion is just one of the many unhappy legacies of modernism. There was a time, however, when the aesthetic and the spiritual were of a piece. This study of the work of American video artist Bill Viola considers the possible reemergence of a theological dimension to contemporary art--a reenchantment of art, as some have called it. Using the high-tech apparatus of modern video, Viola's art is rooted precisely in this theological tradition of transcendent mystical experience and spiritual self-concentration. The technological apotheosis of modern image-making--high speed film, high-definition video, LCD and plasma screens, and sophisticated sound recording--are put to use by Viola in ways that significantly challenge prevailing intellectual and artistic traditions and return us to the power of the Sublime--that which, by definition, defeats language. Viola's art as such converges with postmodern notions of the "unrepresentable" and with the ancient theological tradition of apophasis, "speaking away" or "unsaying." The fullness of "meaning," then, appears only as a promise of presence through embodied absence, neither fully here and now nor entirely elsewhere and beyond. This study seeks to define, through the work of a courageous and thoughtful contemporary artist, the theological sublime as an aesthetic of revelation.

Over the past 20 years, much work has focused on domestic violence, yet little attention has been paid to the causes, manifestations, and resolutions to marital violence among ethnic minorities, especially recent immigrants. Margaret Abraham's Speaking the Unspeakable is the first book to focus on South Asian women's experiences of domestic violence, defined by the author as physical, sexual, verbal, mental, or economic coercion, power, or control perpetrated on a woman by her spouse or extended kin. Abraham explains how immigration issues, cultural assumptions, and unfamiliarity with American social, legal, economic, and other institutional systems, coupled with stereotyping, make these women especially vulnerable to domestic violence. Abraham lets readers hear the voices of abused South Asian women. Through their stories, we learn of their weaknesses and strengths, and of their experiences of domestic violence within the larger cultural, social, economic, and political context. We see both the individual strategies of resistance against their abusers as well as the pivotal role South Asian organizations play in helping these women escape abusive relationships. Abraham also describes the central role played by South Asian activism as it emerged in the 1980s in the United States, and addresses the ideas and practices both within and outside of the South Asian community that stereotype, discriminate, and oppress South Asians in their everyday lives.