The notion of evil- does it exist? what forms does it take? -has always fascinated humankind. The evil underlying such atrocities as the Holocaust, Communist China's Tibetan abattoir, and the murderous ethnic cleansing undertaken by the Serbs and Croats seems beyond explanations or analysis. In this powerfully original work, Oppenheimer analyzes the phenomenon of evil in a mental behavior that emerges in particular conditions. Oppenheimer argues that evil contains specific, predictable ingredients. By understanding its nature, we can diagnose its specific manifestations in mass murder, genocide, and serial killings. Utilizing a variety of cinematic and literary genres in developing its evidence, the book considers such familiar films as "The Silence of the Lambs" and "Brazil," and draws upon such literary works as Richard III, Oedipus the King and the Picture of Dorian Gray. Evil and the Demonic takes a bold first step, providing a framework in which to place the horrors of human existence.

This revolutionary study presents new facts and an original theory about the origin of the thought and literature that may be considered "modern." Using fifty-one new translations of sonnets from four languages spanning seven centuries, Oppenheimer argues that "modern" thought and literature were born with the invention of the sonnet in 13th-century Italy. In revealing the sonnet as the first lyric form since the fall of the Roman Empire meant not for music or performance but for silent reading, the book demonstrates that the sonnet was the first modern literary form deliberately intended to portray the self in conflict and to explore self-consciousness. The wide-ranging essay of Part I traces the influences of the sonnet, as invented by Giacomo da Lentino, combining historical fact with the history of ideas and literary criticism. Part II illustrates, in bilingual format, the sonnet's growing appeal and variety during the centuries that followed with translations from Italian, German, French, and Spanish. The selection presents sonnets by more than thirty-five poets, among them Dante, Petrarch, Goethe, Rilke, Ronsard, Valery, Ibarbourou, and Lorca. The concluding section discusses previous scholarship, offers proofs of the sonnet's introspective and silent inventions, and for the first time establishes the source of the form, in Platonic-Pythagorean mathematics.

'Oppenheimer's translation, pleasantly illuminated with eighty-seven sixteenth-century woodcuts, is extremely readable. No doubt, this accessibility will enable a wide public, both academic and other, to encounter once more the 'original' Schwank in all his crude and bawdy tomfoolery.' - Renaissance Journal

'Oppenheimer's translation, pleasantly illuminated with eighty-seven sixteenth-century woodcuts, is extremely readable. No doubt, this accessibility will enable a wide public, both academic and other, to encounter once more the 'original' Schwank in all his crude and bawdy tomfoolery.' - Renaissance Journal

Poetry. Paul Oppenheimer's fourth collection of poems presents a love story told almost entirely in brisk, often racy modern sonnets and set against a background of the rural Hudson Valley and New York City--before, during and after the catastrophe of 9/11. "I need a form that I did not invent," he writes, "tuned by ancient anguish to impart/the strain of modern doubt: an instrument/just right, just now, on which to test my heart." His test turns into a struggle that sweeps up history, elusive love itself, preparations for war and the war in Iraq in more than ninety eerily redemptive, shocking and accomplished renderings of poetry's oldest and still most powerful form.