From one of America's great professors, author of Why Teach? and Why Read?--an inspiring exploration of the importance of writing well, for creators, educators, students, and anyone who writes. Why write? Why write when it sometimes feels that so few people really read--read as if their lives might be changed by what they're reading? Why write, when the world wants to be informed, not enlightened; to be entertained, not inspired? Writing is backbreaking, mindbreaking, lonely work. So why? Because writing, as celebrated professor Mark Edmundson explains, is one of the greatest human goods. Real writing can do what critic R. P. Blackmur said it could: add to the stock of available reality. Writing teaches us to think; it can bring our minds to birth. And once we're at home with words, there are few more pleasurable human activities than writing. Because this is something he believes everyone ought to know, Edmundson offers us Why Write?, essential reading--both practical and inspiring--for anyone who yearns to be a writer, anyone who simply needs to know how to get an idea across, and anyone in between--in short, everyone.

On the Introduction of Narcissism/Remembering, Repeating and Working Through/Beyond the Pleasure Principle/The Ego and the Id/Inhibition, Symptom and Fear

In Freud’s view we are driven by the desire for pleasure, as well as by the desire to avoid pain. But the pursuit of pleasure has never been a simple thing. Pleasure can be a form of fear, a form of memory and a way of avoiding reality. Above all, as these essays show with remarkable eloquence, pleasure is a way in which we repeat ourselves.

The essays collected in this volume explore, in Freud’s uniquely subtle and accessible style, the puzzles of pleasure and morality – the enigmas of human development.

General Editor: Adam Phillips

In this important book, acclaimed author Mark Edmundson reconceives the value and promise of reading. He enjoins educators to stop offering up literature as facile entertainment and instead teach students to read in a way that can change their lives for the better. At once controversial and inspiring, this is a groundbreaking book written with the elegance and power to change the way we teach and read.

This timely book focuses on theory's relations to literary art. It argues that the institutionalization of literary theory, particularly in American universities, has led to an intellectual sterility in which the actual power and scope of literature are overlooked. The book demands to be read by all teachers of literature and theory, and by anyone concerned with the future of literary studies.

After graduating from college in 1974, Mark Edmundson leaves Vermont to seek his destiny--a quest he knows involves rock and roll and America's high court of mischief and ambition, New York City. Shepherded by a carousing, Marx-quoting friend, he moves into a grungy apartment and embarks on a dream career lugging amps for rock's biggest stars: the Grateful Dead, Pink Floyd, and the Allman Brothers.

But as time wears on, Edmundson finds himself at odds with life in his adopted city and drifts through a regimen of late-night cab driving and radical politics, increasingly detached from the hopes he nursed back in school. Prodded and enlightened along the way by a cast of rogue mentors--his "Kings (and Queens) of Rock and Roll"--Edmundson checks out of New York and careens across the country in search of the elusive "it": the perfect vocation, his slightly crazy, ideal way of life.

In 1969, Mark Edmundson was a typical high school senior in working-class Medford, Massachusetts. He loved football, disdained schoolwork, and seemed headed for a factory job in his hometown—until a maverick philosophy teacher turned his life around.

When Frank Lears, a small, nervous man wearing a moth-eaten suit, arrived at Medford fresh from Harvard University, his students pegged him as an easy target. Lears was unfazed by their spitballs and classroom antics. He shook things up, trading tired textbooks for Kesey and Camus, and provoking his class with questions about authority, conformity, civil rights, and the Vietnam War. He rearranged seats and joined in a ferocious snowball fight with Edmundson and his football crew. Lears’s impassioned attempts to get these kids to think for themselves provided Mark Edmundson with exactly the push he needed to break away from the lockstep life of Medford High. Written with verve and candor, Teacher is Edmundson’s heartfelt tribute to the man who changed the course of his life.

When most critics were using Freudian theories to study literature, Mark Edmundson read Freud's writings "as "literature alongside the works of poets grappling with the heady issues of desire, narcissism, and grief. "Towards Reading Freud" weighs the psychoanalyst's therapeutic directives against his more visionary impulses in a magisterial comparative study of such writers as Shakespeare, Wordsworth, Emerson, and Keats. Cross-fertilizing psychological doctrine with the literary canon, this richly informed volume forges a new understanding of Freud's writings on the self.
"Marvelous. . . . Edmundson's book offers an extraordinary challenge both to practicing analysts and to a scholarly community which all too uncomplainingly inhabits and reinforces the Freudian paradigm of interpretation. Edmundson reinvents an adventurous and dissident Freud as an antidote to . . . weary psychoanalytic commonplaces."--Malcolm Bowie, "Raritan"
"This book takes a distinguished place in the ongoing effort to recontextualize Freud by stressing the literary, rather than the scientific roots and character of his theory."--"Virginia Quarterly Review"

In the midst of a crisis of democracy, we have much to learn from Walt Whitman’s journey toward egalitarian selfhood. Walt Whitman knew a great deal about democracy that we don’t. Most of that knowledge is concentrated in one stunning poem, Song of Myself. Esteemed cultural and literary thinker Mark Edmundson offers a bold reading of the 1855 poem, included here in its entirety. He finds in the poem the genesis and development of a democratic spirit, for the individual and the nation. Whitman broke from past literature that he saw as “feudal”: obsessed with the noble and great. He wanted instead to celebrate the common and everyday. Song of Myself does this, setting the terms for democratic identity and culture in America. The work captures the drama of becoming an egalitarian individual, as the poet ascends to knowledge and happiness by confronting and overcoming the major obstacles to democratic selfhood. In the course of his journey, the poet addresses God and Jesus, body and soul, the love of kings, the fear of the poor, and the fear of death. The poet’s consciousness enlarges; he can see more, comprehend more, and he has more to teach. In Edmundson’s account, Whitman’s great poem does not end with its last line. Seven years after the poem was published, Whitman went to work in hospitals, where he attended to the Civil War’s wounded, sick, and dying. He thus became in life the democratic individual he had prophesied in art. Even now, that prophecy gives us words, thoughts, and feelings to feed the democratic spirit of self and nation.

Once we've terrified ourselves reading Anne Rice or Stephen King, watching Halloween or following the O. J. Simpson trial, we can rely on the comfort of our inner child or Robert Bly's bongos, an angel, or even a crystal. In a brilliant assessment of American culture on the eve of the millennium, Mark Edmundson asks why we're determined to be haunted, courting the Gothic at every turn--and, at the same time, committed to escape through any new scheme for ready-made transcendence. Nightmare on Main Street depicts a culture suffused with the Gothic, not just in novels and films but even in the nonfictive realms of politics and academic theories, TV news and talk shows, various therapies, and discourses on AIDS and the environment. Gothic's first wave, in the 1790s, reflected the truly terrifying events unfolding in revolutionary France. What, Edmundson asks, does the ascendancy of the Gothic in the 1990s tell us about our own day? And what of another trend, seemingly unrelated--the widespread belief that re-creating oneself is as easy as making a wish? Looking at the world according to Forrest Gump, Edmundson shows how this parallel culture actually works reciprocally with the Gothic. An unchecked fixation on the Gothic, Edmundson argues, would result in a culture of sadomasochism. Against such a rancorous and dispiriting possibility, he draws on the work of Nietzsche and Shelley, and on the recent creations of Toni Morrison and Tony Kushner, to show how the Gothic and the visionary can come together in persuasive and renovating ways.