The Demon Of Writing

A history and theory of the powers, the failures, and even the pleasures of paperwork. Since the middle of the eighteenth century, political thinkers of all kinds—radical and reactionary, professional and amateur—have been complaining about “bureaucracy.” But what, exactly, are they complaining about? In The Demon of Writing, Ben Kafka offers a critical history and theory of one of the most ubiquitous, least understood forms of media: paperwork. States rely on records to tax and spend, protect and serve, discipline and punish. But time and again, this paperwork proves to be unreliable. Examining episodes that range from the story of a clerk who lost his job and then his mind in the French Revolution to an account of Roland Barthes's brief stint as a university administrator, Kafka reveals the powers, the failures, and even the pleasures of paperwork. Many of its complexities, he argues, have been obscured by the comic-paranoid style that characterizes much of our criticism of bureaucracy. Kafka proposes a new theory of what Karl Marx called the “bureaucratic medium.” Moving from Marx to Freud, he argues that this theory of paperwork must include both a theory of praxis and of parapraxis.

Erica Jong's memoir-a national bestseller-was probably the most wildly reviewed book of 2006. Critics called it everything from "brutally funny," "risqu? and wonderfully unrepentant," and "rowdy, self-deprecating, and endearing" to "a car wreck."* Throughout her book tour, Jong was unflappably funny, and responded to her critics with a hilarious essay on NPR's All Things Considered, which is included in this paperback edition. In addition to prominent review and feature coverage, Jong was a guest on Today and Real Time with Bill Maher. Even Rush Limbaugh flirted with Jong on his radio program: "I think she wants me. I think she's fantasizing about me." Love her, hate her, Jong still knows how to seduce the country and, most important, keep the pages turning.

Since the middle of the eighteenth century, political thinkers of all kinds — radical and reactionary, professional and amateur — have been complaining about “bureaucracy.” But what, exactly, is all this complaining about? The Demon of Writing is a critical history and theory of one of the most ubiquitous, least understood forms of media: paperwork. States rely on records to tax and spend, protect and serve, discipline and punish. But time and again this paperwork proves to be unreliable. Examining episodes from the story of a clerk who lost his job and then his mind in the French Revolution to Roland Barthes’s brief stint as a university administrator, the book reveals the powers, failures, and even pleasures of paperwork. Many of its complexities, the book argues, have been obscured by the comic-paranoid style that characterizes so many of our criticisms of bureaucracy. At the same time, the book outlines a new theory of what Marx called the “bureaucratic medium.” Returning first to Marx, then to Freud, The Demon of Writing argues that this theory of paperwork must be attentive to both praxis and parapraxis.

Keegan lives to exact revenge on the evil demon who sired and abused him. When his father devises a plan to bring on the apocalypse, he and his three half-brothers, interdimensional bounty hunters for the Elden Council, are charged with capturing and delivering their father for punishment. Art gallery owner Brynn Meyers has no idea that her ability to read memories embedded in objects and drain people of their life force means she has demon ancestry. Unfortunately for Brynn, she's also the key to raising an ancient zombie army, which puts her on every demon's Most Wanted List. And no one wants her more than Keegan's father. Keegan must protect Brynn from his father by any means necessary, but he'll have to learn to harness the other half of his genetics—the far deadlier, uncontrollable half—when he starts to fall for the one woman standing between him and the vengeance he so desperately seeks. The one woman he'll never be able to resist. Each book in the Demons of Infernum series is a standalone, full-length story that can be enjoyed out of order. Book #1 Blood of the Demon Book #2 Mark of the Sylph Book #3 Touch of the Angel Book #3.5: Heart of the Incubus Book #4 Call of the Siren

Louisiana homicide detective Kara Gillian is doing her best to cope with everything that's happened to her over the past year, all while s continuing to hone her skills as a demon summoner. But lately she's beginning to wonder if there's a little too much demon in her world. She has a demon for a roommate, the demonic lord Rhyzkahl is still interested in her for reasons she can't fathom, and now someone in the demon realm is trying to summon her. And there's no way that can end well. Meanwhile, people who've hurt Kara in the past are dropping dead. Kara is desperate to find the reasons for the deaths to clear her own name, but when she realizes there's an arcane pattern to the deaths, she knows that both the human and the demon worlds may be at risk unless she finds out who's behind it all. She's in a race against the clock and in a battle for her life that just may take her to hell and back.Sins of the Demon is the exciting fourth installment of the Kara Gillian series.

Ewan Fernie argues that the demonic tradition in literature offers a key to our most agonised and intimate experiences. The Demonic ranges across the breadth of Western culture, engaging with writers as central and various as Luther, Shakespeare, Hegel, Dostoevsky, Melville and Mann.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Frannie Cavanaugh is a good Catholic girl with a bit of a wicked streak. She has spent years keeping everyone at a distance---even her closest friends---and it seems as if her senior year is going to be more of the same . . . until Luc Cain enrolls in her class. No one knows where he came from, but Frannie can't seem to stay away from him. What she doesn't know is that Luc is on a mission. He's been sent from Hell itself to claim Frannie's soul. It should be easy---all he has to do is get her to sin, and Luc is as tempting as they come. Frannie doesn't stand a chance. But he has to work fast, because if the infernals are after her, the celestials can't be far behind. And sure enough, it's not long before the angel Gabriel shows up, willing to do anything to keep Luc from getting what he came for. It isn't long before they find themselves fighting for more than just Frannie's soul. But if Luc fails, there will be Hell to pay . . . for all of them. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Detective Sergeant Mariko Oshiro has been promoted to Japan’s elite Narcotics unit—and with this promotion comes a new partner, a new case, and new danger. The underboss of a powerful yakuza crime syndicate has put a price on her head, and he’ll lift the bounty only if she retrieves an ancient iron demon mask that was stolen from him in a daring raid. However, Mariko has no idea of the tumultuous past carried within the mask—or of its deadly link with the famed Inazuma blade she wields. The secret of this mask originated hundreds of years before Mariko was born, and over time the mask’s power has evolved to bend its owner toward destruction, stopping at nothing to obtain Inazuma steel. Mariko’s fallen sensei knew much of the mask’s hypnotic power and of its mysterious link to a murderous cult. Now Mariko must use his notes to find the mask before the cult can bring Tokyo to its knees—and before the underboss decides her time is up....

Once the Fallen’s fearless ruler, a grieving Azazel must find the legendary siren meant to take his lost lover’s place . . . and kill her. He’s a devil of an angel. Azazel should have extinguished the deadly Lilith when he had the chance. Now, faced with a prophecy that will force him to betray the memory of his one true love and wed the Demon Queen, he cannot end her life until she leads him to Lucifer. Finding the First is the Fallen’s only hope for protecting mankind from Uriel’s destruction, but Azazel knows that ignoring his simmering desire for the Lilith will be almost as impossible. She’s an angel of a demon. Rachel Fitzpatrick wonders how Azazel could confuse her with an evil seductress. She’s never even been interested in sex! At least not before she set eyes on her breathtaking captor. And now she can’t think about anything else—besides escape. Angels and demons don’t mix. Rachel stirs a carnal need in Azazel that he never thought he’d feel again. Falling for a demon—even if she has no idea she’s the Lilith—means surrendering his very soul. But if he lets her go, he risks abandoning his heart, his dangerous lover, and possibly all of humanity, to Uriel’s deadly wrath.