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.

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.

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.

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.

Once a generation, the rift between the paranormal world and the human world opens, allowing supernatural entities to cross. Vampire, demon, or shapeshifter, they can save the world-or send it spiraling into chaos. The next opening of the rift is coming-and its consequences will be deadly. A rogue group of human-hating preternaturals is planning an apocalyptic attack, but the Council of Preternaturals may have found the key to saving the world: Keira O'Brien, a fey with a long criminal record, whose empathic abilities once made her the queen of con artists. If she successfully infiltrates the dangerous faction, the sins of her past will be forgiven. Keira isn't the only agent working against the rogue prets. Finn Evnissyen, a powerful demon with a dark lineage, is a hired assassin looking for a way out. If he stops the threat, he will finally earn his freedom. As the rift fast approaches, and danger escalates, Finn and Keira must discover if they're on the same side-or sleeping with the enemy . . .

A new explanation of the beginnings of Jewish angelology and demonology, drawing on non-canonical writings and Aramaic Dead Sea Scrolls.

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