The present volume is entirely dedicated to the investigation of the implications and effects of breaking ritual rules, of failed performances and of the extinction of ritual systems. While rituals are often seen as infallible mechanisms which ‘work’ irrespective of the individual motivations of the performers, it is clearly visible here that rituals can fail, and that improper performances do in fact matter. These essays break new ground in their respective fields and the comparative analysis of rituals that go wrong introduces new perspectives to ritual studies. As the first book-length study on ritual mistakes and failure, this volume begins to fill a significant gap in the existing literature. Contributors include: Claus Ambos, Christiane Brosius, Johanna Buss, Burckhard Dücker, Christoph Emmrich, Brigitta Hauser-Schäublin, Maren Hoffmeister, Ute Hüsken, Brigitte Merz, Axel Michaels, Karin Polit, Michael Rudolph, Edward L. Schieffelin, Jan A.M. Snoek, Eftychia Stavrianopoulou, and Jan Weinhold.

Ritual theorizing has tended to focus on perfect rituals, as prescribed in sacred texts, yet ritual mistakes occur all the time--crucial items can go missing or get broken, incorrect phrases can be said. In this book, Kathryn McClymond examines cases in which rituals have gone wrong, embracing the fact that, in fact, they rarely go as planned. From ancient India to modern Iraq, Ritual Gone Wrong demonstrates that ritual disruptions throughout history reveal the fluid, supple, and dynamic nature of ritual.

This volume investigates the implications of breaking ritual rules, of failed performances and of the extinction of ritual systems. The essays thus break new ground in the comparative analysis of rituals and introduce new perspectives to ritual studies.

Drawing on examples from many places and times, this work argues for the continuing tension across historical contexts between movements emphasizing ritual and movements emphasizing sincerity. It contends that our contemporary age has, at great risk, downplayed the importance of ritual.

More than 150 inspired—and inspiring—novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians on how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do. Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, “time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers.” Kafka is one of 161 minds who describe their daily rituals to get their work done, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his “male configurations”.... Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day ... Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced “every pleasure imaginable.” Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books ... Karl Marx ... Woody Allen ... Agatha Christie ... George Balanchine, who did most of his work while ironing ... Leo Tolstoy ... Charles Dickens ... Pablo Picasso ... George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers.... Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to “clear the brain”).