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For example, a passage from his essay on Kafka:
'The definition of it which Kafka has given applies to the sons more than to anyone else: "Original sin, the old injustice committed by man, consists in the complaint that he has been the victim of an injustice, the victim of original sin." But who is accused of this inherited sin - the sin of having produced an heir - if not the father by the son? Accordingly the son would be the sinner. But one must not conclude from Kafka's definition that the accusation is sinful because it is false. Nowhere does Kafka say that it is made wrongfully. A never-ending process is at work here, and no cause can appear in a worse light than the one for which the father enlists the aid of these officials and court offices . . . '
This is not opacity for the sake of being opaque; he is trying to get at something incredibly complex, something that (unlike most literary criticism) actually helps you appreciate Kafka and understand him a little better. Benjamin doesn't peel away layers of an onion to arrive at a single shining insight; he presents a simple idea, expands on it a little, and lets you put on the layers of complexity yourself. Read these essays carefully, and it will be obvious why entire schools of thought have sprung up around single paragraphs, why people have devoted their lives to figuring out the ramifications of a single sentence . . .
Benjamin accomplishes something rare: in writing about art, he succeeds in telling us something about life in modern times. And his insights never seem forced; they flow naturally from what he is discussing. For example, his essay on Leskov, "This process of assimilation, which takes place in depth, requires a state of relaxation that is becoming rarer and rarer. If sleep is the apogee of physical relaxation, boredom is the apogee of mental relaxation. Boredom is the dream bird that hatches the egg of experience. A rustling in the leaves drives him away. His nesting places - the activies that are intimately associated with boredom - are already extinct in the cities and are declining in the country as well. With this the gift for listening is lost and the comminity of listeners disappears. For storytelling is always the art of repeated stories, and this art is lost when the stories are no longer retained."
A simple little paragraph on storytelling, but soon you start thinking about how the art of writing has changed since Benjamin's time, and what effect television and the movies have had on the way we live, on "boredom" and mental relaxation . . . anyway, I'm probably starting to get pretentious which Benjamin, thankfully, never does.
Above all this entire collection is filled with something increasingly rare nowadays, a genuine love of books. Forget all the Marxist stuff in other reviews, all Benjamin is really doing, finally, is talking about some books that he likes. That he succeeds in doing much more is a testament to his brilliance.
Benjamin's project was itself outstanding. He aimed at a synthesis of Marxism, mysticism, German romanticism--in a sense, theology, materialist philosophy, and poetry. His critical approaches and thinking embodies the characteristics he praises in literary texts; Benjamin thinks poetically.
This eclectic collection of material, emphasizing Benjamin's later (and more Marxist) ideas, is not unlike a sampler of related but different confections. It's mistaken to think of Benjamin's various intellectual leanings as discrete ideologies or outright contradictions; instead, to borrow from Wittgenstein, consider his ideas to be different members of a family that resemble one another and are clearly related but live different lives in different contexts.
Benjamin's essay "Unpacking my Library," for example, looks on the surface like a confession of self-indulgence, but (in my opinion) deals in a clever and powerful way with the ways in which we inherit, buy, trade, classify, and value our heritage and cultures. This is truly fascinating material!
Allegoresis and collection are the twin foci around which the elliptical writings of Walter Benjamin orbit. The former, as a mode of criticism, transforms the latter practice into a version of materialist historicism. Instead of constructing further barriers between his own practice and the practices of the historical moment he would transcend, Benjamin embraces the underside of his own theories in "The Work of Art in the Age of Mechanical Reproduction." There he proclaims the disintegration of the aura and champions the revolutionary potential which is thus released. It will be of use therefore, to look at some of his other references to the aura. It's as though Benjamin takes more seriously than Marx the notion that capitalism contains its own subversion--the path to subversion is not to resist and revolt, but to accede and accelerate...
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One of the many things which make this series interesting is that the heroes are from Caesar's Rome. Rome is young energetic vibrant and, most of all, expanding at this time. They are transported to the Byzantine/Videssos Empire while it is in a period of decline. (If it were the real Byzantine Empire, it would be the final decline, but we can still hope for a revival of the Videssos Empire.) The decadence brought by a thousand years of Empire is sharply contrasted with the vibrant patriotism of our heroes who remain unknowing that this is the destiny of their empire too.
This isn't just a military book where the legion moves from battle to battle. This is a much more realistic and complete world where the hero is thrust into the middle of court politics, and has to fight to overcome the shear inertia of the Empire's slide towards collapse. The hero spends more time facing corruption, political intrigue, distrustful monarchs, intolerant monks, and tax collectors than he does facing mounted cavalry units.
I don't want to repeat the excellent review about the warfare in this series written by Robert, 12 MAR 99, under "The Misplaced Legion" (Videssos Cycle, Book 1). I would like to add though, that this is not a series about a general. This is not a David Drake/S.M. Sterling series about Belisarius. As Robert points out, the hero of this series stands in the middle of the battles, and seldom knows more of what's going on than immediately to his left and right. The battles themselves are mostly standup fights where two sides hack at each other. This is really much more realistic though. Most battles, especially in the Roman era, were fought this way. Even though nowadays it seems like every book we read is about Belisarius, brilliant generals with innovative battlefield ideas come along only once in a thousand years or so. Most battles are fought without them.
"The Misplaced Legion" (Videssos Cycle, Book 1) is followed by "An Emperor for the Legion" (The Videssos Cycle Book, 2), "The Legion of Videssos" (Videssos Cycle, Book 3), and "Swords of the Legion" (Videssos Cycle, Book 4). There are two prequel series about Videssos. The first is the Tale of Krispos series, beginning with "Krispos Rising." This is actually a two book story, which is excellent, and a third follow on novel which is very good. The other prequel, The Time of Troubles series, begins with "The Stolen Throne". This series is entertaining, but not really as good as the first two series.
Although there are ten other books about Videssos, there can never be enough. And there are only four books about the Misplaced Legion. There needs to be a sequel series not another prequel. Perhaps "Legion of Videssos: Next Generation" where Marcus's son, born and raised in Videssos, can become Emperor, with Dad and his Legion helping out of course. This could lead to a new golden age for Videssos, and maybe even . . .
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If your interested, there is also a book called Resurfacing which has many of the exercises from the first couple of days of the Avatar training.