The Ecstatic

Victor LaValle has already established himself as “one of the most eloquent voices of the approaching century” (Kirkus Reviews), a writer of darkly humorous tales full of haunting beauty, astonishing leaps of imagination, and language that “crackles and hums” (Chicago Tribune). The Ecstatic is LaValle’s debut novel, a startling tale of love, horror, sex, insanity, faith, morbid obesity, and the modern American family. Something is wrong with Anthony—our 318-pound hero—and it’s getting worse. A monster has caught his uncle and his mother; now it wants Anthony. Mental illness has been transmitted through his family’s blood. The three women in his life—his mother, younger sister, and grandmother—find him naked and disoriented in his off-campus college apartment and take him home to Queens, each determined to fix him in her own peculiar way. But his presence soon turns their house into a semisuburban asylum. Sweet but wickedly sarcastic, smart and heartbreakingly vulnerable, Anthony narrates his family’s surreal adventures through a world of grinning exploitation and fake cures, from storefront evangelists and neighborhood loan sharks to bogus beauty pageants and bootleg medical clinics. He corresponds with a dreadlocked Japanese militant, is haunted by a vicious pack of dogs, and tries to make his own horror movie, all in search of an answer to a question he doesn’t dare ask. Written in the tradition of misfit picaresques from Journey to the End of the Night and Invisible Man to A Confederacy of Dunces and The World According to Garp, The Ecstatic is the revelatory story of a family trying to save themselves from a ravenous world and their own unraveling minds.

Anthony James weighs 315 pounds, is possibly schizophrenic, and he’s just been kicked out of college. He’s rescued by his mother, sister, and grandmother, but they may not be altogether sane themselves. Living in the basement of their home in Queens, New York, Anthony is armed with nothing but wicked sarcasm and a few well-cut suits. He intends to make horror movies but takes the jobs he can handle, cleaning homes and factories, and keeps crossing paths with a Japanese political prisoner, a mysterious loan shark named Ishkabibble, and packs of feral dogs. When his invincible 13-year old sister enters yet another beauty pageant—this one for virgins—the combustible Jameses pile into their car and head South for the competition. Will Anthony’s family stick together or explode? With electrifying prose, LaValle ushers us into four troubled but very funny lives.

Something is wrong with Anthony, and it's getting worse. Schizophrenia runs in his family's blood, picking off an uncle here, a mother there, and has now found a home in Anthony's mind. The women in his life -- his mother, sister, and grandmother -- bring him home to Queens and try to fix him, but his presence slowly turns their home into a semi-suburban asylum.Anthony narrates the skewed story of his family's surreal adventures in an exploitative world, from black-market employers and neighborhood loansharks to bogus beauty pageants and bootleg medical clinics. In the tradition of misfit picaresques from The World According to Garp to Confederacy of Dunces, this is the story of a family trying to save themselves from the ravenous world and their own unraveling minds.

This work is not only a general inquiry into ecstatic states of consciousness and an historical outline of the ecstatic poetic tradition but also an intensive study of five representative poets--Rumi, Wordsworth, Whitman, Dickinson, and Tagore. In a refreshingly original, wide-ranging engagement with concepts in psychology, religion, philosophy, aesthetics, sociology and history, this book demonstrates that the poetics and aesthetics of ecstasy represent an ancient, ubiquitous theory of poetry that continues to influence writers in the current century.

Fascination with quotidian experience in modern art, literature, and philosophy promotes ecstatic forms of reflection on the very structure of the everyday world. Gosetti-Ferencei examines the ways in which modern art and literature enable a study of how we experience quotidian life. She shows that modernism, while exhibiting many strands of development, can be understood by investigating how its attentions to perception and expectation, to the common quality of things, or to childhood play gives way to experiences of ecstasis&—the stepping outside of the ordinary familiarity of the world. While phenomenology grounds this study (through Husserl, Heidegger, Merleau-Ponty, and Bachelard), what makes this book more than a treatise on phenomenological aesthetics is the way in which modernity itself is examined in its relation to the quotidian. Through the works of artists and writers such as Benjamin, C&ézanne, Frost, Klee, Newman, Pollock, Ponge, Proust, Rilke, Robbe-Grillet, Rothko, Sartre, and Twombly, the world of quotidian life can be seen to harbor a latent ecstasis. The breakdown of the quotidian through and after modernism then becomes an urgent question for understanding art and literature in its capacity to further human experience, and it points to the limits of phenomenological explications of the everyday.

Karl Marx spoke about the have and the have nots. A third kind always existed in Bharat (ancient India) since time immemorial and continues to this day - those who could have anything but wanted nothing. The Məsts. Remaining always in inner ecstasy and living in complete freedom and abandon, they walk the earth to remind you of your lost glory. To go within. To be in ecstasy within yourself. To be You. To be a Məst. Learn about these amazing Məsts and the grand Tradition that they represent, through the fascinating life of Atmananda Chaitanya. Atmananda is not just a person. He is a wake-up call. This book may awaken people from the illusions of activities into the lap of beingness, totality and completion. This is the story of a possible journey of an ordinary man from a unit to the Universe. He is everybody. He is everything. He is YOU.

Presents the first comprehensive survey of the varieties of psychedelic experience since 1975.

Fascination with quotidian experience in modern art, literature, and philosophy promotes ecstatic forms of reflection on the very structure of the everyday world. Gosetti-Ferencei examines the ways in which modern art and literature enable a study of how we experience quotidian life. She shows that modernism, while exhibiting many strands of development, can be understood by investigating how its attentions to perception and expectation, to the common quality of things, or to childhood play gives way to experiences of ecstasis&—the stepping outside of the ordinary familiarity of the world. While phenomenology grounds this study (through Husserl, Heidegger, Merleau-Ponty, and Bachelard), what makes this book more than a treatise on phenomenological aesthetics is the way in which modernity itself is examined in its relation to the quotidian. Through the works of artists and writers such as Benjamin, C&ézanne, Frost, Klee, Newman, Pollock, Ponge, Proust, Rilke, Robbe-Grillet, Rothko, Sartre, and Twombly, the world of quotidian life can be seen to harbor a latent ecstasis. The breakdown of the quotidian through and after modernism then becomes an urgent question for understanding art and literature in its capacity to further human experience, and it points to the limits of phenomenological explications of the everyday.

During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as "a gift from heaven." Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas inspired by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music.