In recent years, a growing field of empathy studies has started to emerge from several academic disciplines, including neuroscience, social psychology, and philosophy. Because literature plays a central role in discussions of empathy across disciplines, reconsidering how literature relates to "feeling with" others is key to rethinking empathy conceptually. This collection challenges common understandings of empathy, asking readers to question what it is, how it works, and who is capable of performing it. The authors reveal the exciting research on empathy that is currently emerging from literary studies while also making productive connections to other areas of study such as psychology and neurobiology. While literature has been central to discussions of empathy in divergent disciplines, the ways in which literature is often thought to relate to empathy can be simplistic and/or problematic. The basic yet popular postulation that reading literature necessarily produces empathy and pro-social moral behavior greatly underestimates the complexity of reading, literature, empathy, morality, and society. Even if empathy were a simple neurological process, we would still have to differentiate the many possible kinds of empathy in relation to different forms of art. All the complexities of literary and cultural studies have still to be brought to bear to truly understand the dynamics of literature and empathy.

In recent years, a growing field of empathy studies has started to emerge from several academic disciplines, including neuroscience, social psychology, and philosophy. Because literature plays a central role in discussions of empathy across disciplines, reconsidering how literature relates to "feeling with" others is key to rethinking empathy conceptually. This collection challenges common understandings of empathy, asking readers to question what it is, how it works, and who is capable of performing it. The authors reveal the exciting research on empathy that is currently emerging from literary studies while also making productive connections to other areas of study such as psychology and neurobiology. While literature has been central to discussions of empathy in divergent disciplines, the ways in which literature is often thought to relate to empathy can be simplistic and/or problematic. The basic yet popular postulation that reading literature necessarily produces empathy and pro-social moral behavior greatly underestimates the complexity of reading, literature, empathy, morality, and society. Even if empathy were a simple neurological process, we would still have to differentiate the many possible kinds of empathy in relation to different forms of art. All the complexities of literary and cultural studies have still to be brought to bear to truly understand the dynamics of literature and empathy.

Anger is an emotion that affects everyone regardless of culture, class, race, or gender—but at the same time, being angry always results from the circumstances in which people find themselves. In On Anger, Sue J. Kim opens a stimulating dialogue between cognitive studies and cultural studies to argue that anger is always socially and historically constructed and complexly ideological, and that the predominant individualistic conceptions of anger are insufficient to explain its collective, structural, and historical nature. On Anger examines the dynamics of racial anger in global late capitalism, bringing into conversation work on political anger in ethnic, postcolonial, and cultural studies with recent studies on emotion in cognitive studies. Kim uses a variety of literary and media texts to show how narratives serve as a means of reflecting on experiences of anger and also how we think about anger—its triggers, its deeper causes, its wrongness or rightness. The narratives she studies include the film Crash, Maxine Hong Kingston’s The Woman Warrior, Tsitsi Dangarembga’s Nervous Conditions and The Book of Not, Ngugi wa Thiong’o’s Devil on the Cross and Wizard of the Crow, and the HBO series The Wire. Kim concludes by distinguishing frustration and outrage from anger through a consideration of Stéphane Hessel’s call to arms, Indignez-vous! One of the few works that focuses on both anger and race, On Anger demonstrates that race—including whiteness—is central to our conceptions and experiences of anger.