Unspeakable: Literature and Terrorism from the Gunpowder Plot to 9/11 explores the representation of terrorism in plays, novels, and films across the centuries. Time and time again, writers and filmmakers including William Shakespeare, Joseph Conrad, Henry James, Gillo Pontecorvo, Don DeLillo, John Updike, and Steven Spielberg refer to terrorist acts as beyond comprehension, “a deed without a name,” but they do not stop there. Instead of creating works that respond to terrorism by providing comforting narratives reassuring audiences and readers of their moral superiority and the perfidy of the terrorists, these writers and filmmakers confront the unspeakable by attempting to see the world from the terrorist’s perspective and by examining the roots of terrorist violence.

Unspeakable probes the relationship between trauma theory and Christian theology in order to support preachers in the task of crafting sermons that adequately respond to trauma in the pews and the world at large. How might sermons contribute to resiliency and the repairing of wounds caused by traumatic experiences? This book seeks to provide a theological lens for preachers who wonder how their ‘beautiful words’ can address suffering amid traumatic wounding. Preaching is a healing discourse that proclaims gospel, or good news. Gospel is a complicated reality, especially in the face of trauma. Drawing on various theologies and insights from trauma theory, Unspeakable challenges the notion of a triumphant gospel, seeking an in-between perspective that honors both resurrection and the trauma that remains despite our desire to get to the good news. It builds on images of the preacher as witness and midwife in order to develop homiletical practices that acknowledge the limitations of language and imagination experienced by traumatized individuals.

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.

"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.

Sparrow Ten years ago, an unspeakable horror stole my voice. Doctors don't know why. But my ability to speak was buried deep with my parents. Not a word has come from me since. The Sparrow ceased her song. And then I met Hudson. He's so full of life, and once he sees me, so intent on everything I do. He wants to change the unspeakable agony inside me to unspeakable joy in his arms. It scares me, but... There's also nothing in the world I could want more.

Using the written word as her witness statement, Jessica Willis Fisher gives a lacerating portrait of a girl finding her voice after years of being silenced and an unforgettable story of risk and faith. Growing up the eldest daughter in a large, highly controlled, fundamentalist Christian household, Jessica Willis was groomed to perform, and to conform to her father's disturbing and chaotic teachings. Cut off from anything unapproved by her father, Jessica was persistently curious about the outside world, always wondering what was normal or potentially dangerous about her upbringing. When the Willis family rocketed into fame after their appearances on multiple televised talent competitions in 2014, Jessica and her family landed their own reality TV show and toured across the globe, singing and dancing for millions. The world loved this beautiful family of kids; young and vivacious, the Willis's presented themselves to be extraordinary and happy. But the older and wiser Jessica got, the more she had to face that what was going on behind closed doors would forever be escalating. In this elegant, harrowing story of the manipulation and codependency that defines abusive family relationships, Jessica Willis Fisher lets us see the formative moments of her childhood through her eyes. Fisher's haunting coming-of-age memoir captures the beauty and ugliness of a young woman finding her way—filled with longing, fear, confusion, secrecy, and most importantly, hope for the future. Unspeakable: Surviving My childhood and Finding My Voice shares: An unflinching look at the manipulation and codependency that defines abusive family relationships The formative moments of Jessica's childhood through her eyes An unforgettable story of courage and strength Beautifully written and monumental in its bravery, Fisher's story is proof that we can all become so much more that the things that happen to us.

The Unspeakable: Representations of Trauma in Francophone Literature and Art is situated at the crossroads of language, culture and genre; it contends that suffering transcends time, space and cultural specificity. Even when extreme trauma is silenced, it often still emerges in surprising and painful ways. This volume draws together examples from throughout the Francophone world, including countries such as Algeria, Morocco, Lebanon, Rwanda, Cameroon, Congo, Côte d’Ivoire, Haiti, New Caledonia, Quebec and France, and across genres such as autobiography, poetry, theater, film, fiction and visual art to provide a cohesive analysis of the representation of trauma. In addition to the survivors’ expression of trauma, the witnesses and receivers are also taken into account. By gathering studies that explore diverse bodily and psychological traumas through tropes such as repetition, silence and working-through, it tackles ethical responsibility and interrogates how expressive forms evoke a terrible reality through the use of imagination. The aim of this volume is not to question if suffering is representable, but rather to examine to what extent art surpasses its own limitations and goes straight to its essence. The Unspeakable hopes to provide models for the cultural translation of trauma, because, when represented and released from silence and isolation, trauma can give way to the arduous process of healing.

The late nineteenth century was a golden age for European travel in the United States. For prosperous Europeans, a journey to America was a fresh alternative to the more familiar ‘Grand Tour’ of their own continent, promising encounters with a vast, wild landscape, and with people whose culture was similar enough to their own to be intelligible, yet different enough to be interesting. Their observations of America and its inhabitants provide a striking lens on this era of American history, and a fascinating glimpse into how the people of the past perceived one another. In Unspeakable Awfulness, Kenneth D. Rose gathers together a broad selection of the observations made by European travellers to the United States. European visitors remarked upon what they saw as a distinctly American approach to everything from class, politics, and race to language, food, and advertising. Their assessments of the ‘American character’ continue to echo today, and create a full portrait of late-nineteenth century America as seen through the eyes of its visitors. Including vivid travellers’ tales and plentiful illustrations, Unspeakable Awfulness is a rich resource that will be useful to students and appeal to anyone interested in travel history and narratives.

Unspeakable ShaXXXspeares is a savvy look at the wide range of adaptations, spin-offs, and citations of Shakespeare's plays in 1990s popular culture. What does it say about our culture when Shakespearean references turn up in television episodes of The Brady Bunch and Gilligan's Island, films such as In and Out and My Own Private Idaho, and hardcore porn adaptations of Hamlet and Romeo and Juliet? Burt reads the reception of these often quite bad replays in relation to contemporary youth culture and the "queering" of Shakespeare.

This book is a definitive exploration of truth commissions around the world and the anguish, injustice, and the legacy of hate they are meant to absolve.