Addressing Merleau-Ponty's work Phenomenology of Perception, in dialogue with The Visible and the Invisible, his lectures at the College de France, and his reading of Proust, this book argues that at play in his thought is a philosophy of "ontological lateness". This describes the manner in which philosophical reflection is fated to lag behind its objects; therefore an absolute grasp on being remains beyond its reach. Merleau-Ponty articulates this philosophy against the backdrop of what he calls "cruel thought", a style of reflecting that seeks resolution by limiting, circumscribing, and arresting its object. By contrast, the philosophy of ontological lateness seeks no such finality-no apocalypsis or unveiling-but is characterized by its ability to accept the veiling of being and its own constitutive lack of punctuality. To this extent, his thinking inaugurates a new relation to the becoming of sense that overcomes cruel thought. Merleau-Ponty's work gives voice to a wisdom of dispossession that allows for the withdrawal of being. Never before has anyone engaged with the theme of Merleau-Ponty's own understanding of philosophy in such a sustained way as Whitmoyer does in this volume.

Marx's early work is well known and widely available, but it usually interpreted as at best a kind of stepping-stone to the Marx of Capital. This book offers something completely different; it reconstructs, from his first writings spanning from 1835 to 1846, a coherent and well-rounded political philosophy. The influence of Engels upon the development of that philosophy is discussed. This, it is argued, was a philosophy that Marx could have presented had he put the ideas together, as he hinted was his eventual intention. Had he done so, this first Marx would have made an even greater contribution to social and political philosophy than is generally acknowledged today. Arguments regarding revolutionary change, contradiction and other topics such as production, alienation and emancipation contribute to a powerful analysis in the early works of Marx, one which is worthy of discussion on its own merits. This analysis is distributed among a range of books, papers, letters and other writings, and is gathered here for the first time. Marx's work of the period was driven by his commitment to emancipation. Moreover, as is discussed in the conclusion to this book, his emancipatory philosophy continues to have resonance today. This new book presents Marx in a unique, new light and will be indispensable reading for all studying and following his work.

Metaphysics of Children's Literature is the first sustained study of ways in which children's literature confronts metaphysical questions about reality and the nature of what there is in the world. In its exploration of something and nothing, this book identifies a number of metaphysical structures in texts for young people-such as the ontological exchange or nowhere in extremis-demonstrating that their entanglement with the workings of reality is unique to the conditions of children's literature. Drawing on contemporary children's literature discourse and metaphysicians from Heidegger and Levinas, to Bachelard, Sartre and Haraway, Lisa Sainsbury reveals the metaphysical groundwork of children's literature. Authors and illustrators covered include: Allan and Janet Ahlberg, Mac Barnett, Ron Brooks, Peter Brown, Lewis Carroll, Eoin Colfer, Gary Crew, Roald Dahl, Roddy Doyle, Imme Dros, Sarah Ellis, Mem Fox, Zana Fraillon, Libby Gleeson, Kenneth Grahame, Armin Greder, Sonya Hartnett, Tana Hoban, Judy Horacek, Tove Jansson, Oliver Jeffers, Jon Klassen, Elaine Konigsburg, Norman Lindsay, Geraldine McCaughrean, Robert Macfarlane, Jackie Morris, Edith Nesbit, Mary Norton, Jill Paton Walsh, Philippa Pearce, Ivan Southall, William Steig, Shaun Tan, Tarjei Vesaas, David Wiesner, Margaret Wild, Jacqueline Woodson and many others.

In a bold new argument, Ulrika Carlsson grasps hold of the figure of Eros that haunts Soren Kierkegaard's The Concept of Irony, and for the first time, uses it as key to interpret that text and his second book, Either/Or. According to Carlsson, Kierkegaard adopts Plato's idea of Eros as the fundamental force that drives humans in all their pursuits. For him, every existential stance-every way of living and relating to the outside world-is at heart a way of loving. By intensely examining Kierkegaard's erotic language, she also challenges the theory that the philosopher's first two books have little common ground and reveals that they are in fact intimately connected by the central and explicit topic of love. In this text suitable for both students and the Kierkegaard specialist, Carlsson claims that despite long-held beliefs about the disparity of his early work, his first two books both relate to love and Part I of Either/Or should be treated as the sequel to The Concept of Irony.

How do we understand memory in the early novel? Departing from traditional empiricist conceptualizations of remembering, Mind over Matter uncovers a social model of memory in Enlightenment fiction that is fluid and evolving - one that has the capacity to alter personal histories. Memories are not merely imprints of first-hand experience stored in the mind, but composite stories transacted through dialogue and reading.Through new readings of works by Daniel Defoe, Frances Burney, Laurence Sterne, Jane Austen, and others, Sarah Eron tracks the fictional qualities of memory as a force that, much like the Romantic imagination, transposes time and alters forms. From Crusoe's island and Toby's bowling green to Evelina's garden and Fanny's east room, memory can alter, reconstitute, and even overcome the conditions of the physical environment. Memory shapes the process and outcome of the novel's imaginative world-making, drafting new realities to better endure trauma and crises. Bringing together philosophy of mind, formalism, and narrative theory, Eron highlights how eighteenth-century novelists explored remembering as a creative and curative force for literary characters and readers alike. If memory is where we fictionalize reality, fiction--and especially the novel--is where the truths of memory can be found.