This article argues that localizing access – a general ethical principle – is a workable strategy that can be used in approaching participants in qualitative research across disciplines and in coping with respective institutional practices in order to collect meaningful data. This article is based on the autobiographical, lived experiences of the authors during the period of their data collection in Cameroon in 2013 and 2015, by the second and first author, respectively. Therefore, generalization across a broader context is somewhat (...) restricted, and a closer analysis of specific cultural and situational realities is needed. The article addresses two main objectives, that is, to identify factors that inhibit and factors that facilitate access to individuals and institutions. To this end, the article employs self-reflexivity and provides valuable explanations on the workability of applying skills of negotiating access in a local cultural context. (shrink)

Ethics dumping is the practice of undertaking research in a low- or middle-income setting which would not be permitted, or would be severely restricted, in a high-income setting. Whilst Kenya operates a sophisticated research governance system, resource constraints and the relatively low number of accredited research ethics committees limit the capacity for ensuring ethical compliance. As a result, Kenya has been experiencing cases of ethics dumping. This article presents 11 challenges in the context of preventing ethics dumping in Kenya, namely (...) variations in governance standards, resistance to double ethics review, resource constraints, unresolved issues in the management of biological samples, unresolved issues in the management of primary data, unsuitable informed consent procedures, cultural insensitivity, differing standards of care, reluctance to provide feedback to research communities, power differentials which facilitate the exploitation of local researchers and lack of local relevance and/or affordability of the resultant products. A reflective approach for researchers, built around the values of fairness, respect, care and honesty, is presented as a means of taking shared responsibility for preventing ethics dumping. (shrink)

Background: When adolescent boys experience close, secure relationships with their parents and peers, the implications are potentially far reaching, including lower levels of mental health problems in adolescence and young adulthood. Here we use rare prospective intergenerational data to extend our understanding of the impact of adolescent attachments on subsequent postpartum mental health problems in early fatherhood.Methods: At age 17–18 years, we used an abbreviated Inventory of Parent and Peer Attachment to assess trust, communication, and alienation reported by 270 male (...) participants in their relationships with mothers, fathers, and peers. More than a decade later, we assessed the adult males, now fathers, at 12 months postpartum for symptoms of depression, anxiety, and stress. Logistic regression was used to examine the extent to which attachment dimensions predicted paternal postpartum mental health, adjusting for potential confounding, and with assessment for interactions between parent and peer attachments.Results: Trust in mothers and peers, and good communication with fathers during adolescence, were associated with 5 to 7 percentage point reductions in postpartum mental health symptoms in early fatherhood. Weak evidence of parent-peer interactions suggested secure attachments with either parent or peer may compensate for an insecure attachment with the other.Conclusions: Our results suggest that fostering trust and communication in relationships that adolescent boys have with parents and peers may have substantial effects on rates of paternal postpartum mental health problems. The protective benefits may be preventative in intergenerational cycles of risk for mental health problems. (shrink)

This essay argues against Richard Joyce, using him as an exemplar of a number of writers who purport to show that the best a naturalized ethics can provide are demands that we can hold only as moral agnostics; that is, that no moral claims can be shown to be epistemically warranted, hence no moral claims have the property of “inescapable authority” necessary for real moral discourse or deliberation. The prudent course of action is therefore to act as if moral (...) claims had categorical standing, knowing full well that we cannot, in principle, know this. The essay proposes instead that a fully naturalized account of moral reasoning and sentiments, compatible with the commitment to understanding human beings as products of evolutionary processes, can provide “existence imperatives” necessarily implicated in our being social animals. It argues that, on the one hand, we're mistaken in believing that real moral discourse must include imperatives that hold with inescapable authority as a foundation and, on the other, that a naturalistic perspective can offer demands that are authoritative enough to make moral judgment sound. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Puzzle of Fanny PriceJoyce L. JenkinsIt is common to open a work regarding the merits of Mansfield Park by noting that Fanny Price is very difficult to like. Nietzsche might have described her as a "moral tarantula." 1 She sits, making negative moral judgments about the actions of others, while doing nothing herself. Fanny spends most of her time, literally, sitting or lying down. Austen describes her character (...) as "supine." Comparing Fanny with her sister Susan, Austen says that "Susan was only acting on the same truths, and pursuing the same system, which her [Fanny's] own judgment acknowledged, but which her more supine and yielding temper would have shrunk from asserting. Susan tried to be useful, where she could only have gone away and cried" (MP, p. 395). 2 And Fanny cries all of the time. She cries at least thirteen times over the course of the novel. So, there are two questions about the novel that need to be answered. Why did Austen create a heroine who is so clearly distasteful? Why do some critics and philosophers see Fanny as a moral ideal or cultural icon? Some (Alasdair MacIntyre, Gilbert Ryle, Lionel Trilling) argue that Fanny is so unappealing just because Austen wants to be didactic 3 and force us to focus on virtue. According to Lionel Trilling, for example, Mansfield Park has a different moral message from Pride and Prejudice. "Its praise is not for social freedom, but for social stasis. It takes full notice of spiritedness, vivacity, celerity and lightness, but only to reject them as having nothing to do with virtue and happiness, as being, indeed, deterrents to the good life." 4 Others think that the infelicities of the novel and its heroine make it a parody of traditional feminine values and conservative moral thought in general. 5 Here, I shall argue that a path between these two extreme ways of reading the novel is correct. I shall argue, using Alasdair MacIntyre's discussion as a starting [End Page 346] point, that Austen does not cast Fanny as a moral ideal. If Austen is Aristotelian (a common view among philosophers) Fanny cannot be an ideal. And, although I agree with Johnson's view that those who have read the novel as morally conservative are wrong, I do not think that the novel exhibits global skepticism about traditional standards for the beautiful/feminine. Austen condemns the idea that women should be passive dolls who do not think for themselves, but she does not parody the traditional idea that women should be sweet, gentle, and caring. In my view, Fanny's character constitutes a criticism of passivity, and of rigid adherence to moral rules.Alasdair MacIntyre's view is that Austen is an Aristotelian moralist with a Christian slant on the make-up of the virtues. He describes Fanny's character as an ideal of virtue. He argues that Fanny is pretty much lacking in charm just because Austen wanted to focus on the nature of virtue, which charm can obscure and which Fanny is meant to epitomize.For charm is the characteristically modern quality which those who lack or simulate the virtues use to get by in situations of characteristically modern social life... And the charm of an Elizabeth Bennett... may mislead us... Fanny is charmless; she has only the virtues, the genuine virtues to protect her... and when she disobeys her guardian, Sir Thomas Bertram, and refuses marriage to Henry Crawford it can only be because of what constancy requires. In so refusing she places the danger of losing her soul before the reward of gaining what for her would be a whole world. She pursues virtue for the sake of a certain kind of happiness and not for its utility. 6So, MacIntyre thinks that Fanny Price is meant to be a stripped down model of virtue, with constancy being the keystone virtue that she exhibits. "Constancy is crucial in at least two novels, Mansfield Park and Persuasion, in each of which it is a central virtue of the heroine... And without constancy all the other virtues to some degree lose their point" (AV, p. 242).But when constancy is discussed... (shrink)

In this thesis I argue that Adam Smith is committed to moral egalitarianism, which extends to his theory of political economy. While Smith’s work is often used to justify economic inequality in society, I show that his political theory is best understood as a kind of relational egalitarianism. Using Elizabeth Anderson’s Democratic Equality as a model, I examine Smith’s commitment to equality in the space of social relationships. In particular, I argue that Smith’s focus on eliminating inequalities that cause (...) oppression in society in conjunction with his efforts to design a political and economic system that will yield social conditions of freedom for individuals make him a relational egalitarian. (shrink)

Reading Certainty offers incisive historical analysis of the foundational questions of the Christian tradition: how are we to read scripture, and how can we know we are saved? This collection of essays honors the work and thought Susan E. Schreiner by exploring the import of these questions across a wide range of time periods. With contributions from renowned scholars and from Schreiner's students from her more than three decades of teaching, each of the contributions highlights the nexus of certainty, perception, (...) authority, and exegesis that has defined her scholarly work. Intellectual historians, early modernists, and scholars of Christianity will all appreciate this testament to Schreiner's influence. Contributors include: Vincent Evener, Bruce Gordon, Ralph Keen, Mark Lambert, Kevin J. Madigan, Richard A. Muller, Willemien Otten, Daniel Owings, Elizabeth Palmer, Karen Park, Barbara Pitkin, Ronald K. Rittgers, William Schweiker, Jonathan Strom, and Matthew Vanderpoel. (shrink)

We argue for the addition of trauma informed awareness, training, and skill in clinical ethics consultation by proposing a novel framework for Trauma Informed Ethics Consultation (TIEC). This approach expands on the American Society for Bioethics and Humanities (ASBH) framework for, and key insights from feminist approaches to, ethics consultation, and the literature on trauma informed care (TIC). TIEC keeps ethics consultation in line with the provision of TIC in other clinical settings. Most crucially, TIEC (like TIC) is systematically sensitive (...) to culture, history, difference, power, social exclusion, oppression, and marginalization. By engaging a neonatal intensive care ethics consult example, we define our TIEC approach and illustrate its application. Through TIEC we argue it is the role of ethics consultants to not only hold open moral spaces, but to furnish them in morally habitable ways for all stakeholders involved in the ethics consultation process, including patients, surrogates, and practitioners. (shrink)

We citizens of the 21st century live in a world where division of epistemic labour rules. Most of what we know we learned from the spoken or written word of others, and we depend in endless practical ways on the technological fruits of the dispersed knowledge of others—of which we often know almost nothing—in virtually every moment of our lives. Interest has been growing in recent years amongst philosophers, in the issues in epistemology raised by this fact. One issue concerns (...) the depth and extent of our epistemic dependence on testimony, as we may label this broad epistemic source: Do we have any knowledge at all that is free of epistemic dependence on what we have learned from others? A related question is whether our entitlement to believe what we have learned from others can be explained without invoking any epistemic principles special to testimony. These questions concern, as it were, the macro-epistemology of testimony. In the present discussion I shall focus instead on the micro foundations. Testimony, in our broad sense, can occur through an extensive range of types of spoken and written means of purportedly factual communication, including telephone calls, e-mails and personal letters, lectures and radio broadcasts, newspapers, textbooks and encyclopaedias, personal diaries, and public records of all kinds. But the central paradigm—what started the whole communication thing off—is surely that of face-to-face spoken encounter, when one person tells something to another, thereby intending and hoping to share her knowledge with her audience. I begin by describing the speech act of telling, identifying what takes place in a felicitous act of telling. From the nature of the speech act of telling, we see precisely how it is that knowledge is, when all goes as it should, acquired from teller by trusting hearer, in such an act, and in acts of testimony more broadly. (shrink)

A growing frustration with “spin doctors,” doublespeak, and outright lying by public officials has resulted in a deep public cynicism regarding politics today. It has also led many voters to seek out politicians who engage in “straight talk,” out of a hope that sincerity signifies a dedication to the truth. While this is an understandable reaction to the degradation of public discourse inflicted by political hype, Elizabeth Markovits argues that the search for sincerity in the public arena actually constitutes (...) a dangerous distraction from more important concerns, including factual truth and the ethical import of political statements. Her argument takes her back to an examination of the Greek notion of _parrhesia_, and she draws from her study of the Platonic dialogues a nuanced understanding of this ancient analogue of “straight talk.” She shows Plato to have an appreciation for rhetoric rather than a desire to purge it from public life, providing insights into the ways it can contribute to a fruitful form of deliberative democracy today. (shrink)

In 2017 and 2019, two research teams claimed ‘proof of principle’ for artificial womb technology (AWT). AWT has long been a subject of speculation in bioethical literature, with broad consensus that it is a welcome development. Despite this, little attention is afforded to more immediate ethical problems in the development of AWT, particularly as an alternative to neonatal intensive care. To start this conversation, I consider whether experimental AWT is innovative treatment or medical research. The research–treatment distinction, pervasive in regulation (...) worldwide, is intended to isolate research activities and subject them to a greater degree of oversight. I argue that there is a tendency in the literature to conceptualize AWT for partial ectogenesis as innovative treatment. However, there are sufficiently serious ethical concerns with experimental AWT that mean that it must not be first used on humans on the basis that it is a ‘beneficial treatment’. First, I outline the prospects for translation of AWT animal studies into treatment for human preterms. Second, I challenge the conceptualizations of experimental AWT as innovative treatment. It must be considered medical research to reflect the investigatory nature of the process and guarantee sufficient protections for subjects. Identifying that AWT is research is crucial in formulating further ethico‐legal questions regarding the experimental use of AWT. Third, I demonstrate that clinical trials will be a necessary part of the clinical translation of AWT because of requirements laid out by regulators. I consider the justification for clinical trials and highlight some of the crucial ethical questions about the conditions under which they should proceed. (shrink)

In his article ‘Saints and Heroes’, Urmson argues that traditional moral theories allow at most for a threefold classification of actions in terms of their worth, and that they are therefore unsatisfactory. Since the conclusion of his argument has led to the widespread use of the term ‘acts of supererogation’, and since I do not believe that such acts exist, I propose to argue that the actions with which he is concerned not only can, but should, be contained within the (...) traditional classification. (shrink)

We intuitively think and talk about health care as a human right. Moreover, we tend to talk about health in the language of basic rights or human rights without a clear sense of what such rights mean, let alone whose duty it is to fulfill them. Additionally, in the care ethics literature, we tend to think of a dividing line between care and justice. In this dissertation I aim to draw care and justice together in what I call care justice. (...) To attend to care justice requires the reconceptualization of the value and practice of health care, and of the moral communities in which we enact care and justice. First, I argue for a strong right to health care, though not to health. Second, I argue that health care includes much more than mere medical care. On this account health care is special for the practices of care it values and communicates. Third, I establish a theoretical framework for why, and importantly how, health care entails other forms of care: social, economic and political. My approach engages a complicity framework to rethink moral community formation and participation, and the rights and responsibilities of individuals as participants in a collective moral community. I argue that it is within communities of membership, which I define as ethical homes, that we have duties to and expectations from others. The moral community as complicit ethical home provides a way to reimagine individual shared responsibility within moral communities, and particularly regarding responsibility for practices of care. (shrink)

This paper responds to a proposal for an intersectional approach to the clinical encounter between patient and medical provider. We agree that an intersectional framework offers new insights and information in the clinical encounter. Intersectionality involves awareness of the physician-patient dynamic, and understanding the various privileges and disadvantages of all parties involved, at a micro and macroscopic level. Yet, this analysis alone is insufficient to aid in the clinical encounter and risks harm. We worry about a clinician making assumptions about (...) her patient’s race, gender, economic status, and how these influence the patient’s own views of her life and health. We argue that a narrative supplement is a necessary element of intersectional clinical encounters. Prioritizing patient narrative curtails assumptions, builds trust, and improves care. (shrink)

It is proposed here that there is a sensitive period in the first two to three years of life during which humans acquire a basic knowledge of what foods are safe to eat. In support of this, it is shown that willingness to eat a wide variety of foods is greatest between the ages of one and two years, and then declines to low levels by age four. These data also show that children who are introduced to solids unusually late (...) have a narrower diet breadth throughout childhood, perhaps because the duration of the sensitive period has been shortened. By reducing the costs associated with learning, a sensitive period for food learning should be adaptive for any omnivore (including early humans) that remains in the same environment throughout its life. (shrink)

There is an emerging ethical consensus that injured research participants should receive medical care and compensation for their research-related injuries. This consensus is premised on notions of beneficence, distributive justice, compensatory justice and reciprocity. In response, countries around the world have implemented no-fault compensation systems to ensure that research participants are adequately protected in the event of injury. The United States, the world's leading sponsor of research, has chosen instead to rely on its legal system to provide injured research participants (...) with medical care and compensation. This article argues that US reliance on its legal system leaves injured research participants unprotected in the event of injury. Nearly every injured research participant will have difficulty receiving compensation in court, and certain classes of research participants will be barred from receiving compensation altogether. The United States’ outlier status also threatens to impede US-sponsored multinational research, potentially delaying important biomedical advances. To rectify this injustice, researchers, Institutional Review Boards, sponsors and research institutions should advocate systematic no-fault compensation in the United States to bring US law into accord with global ethical norms and ensure that injured research participants are adequately protected. (shrink)

Volume 20, Issue 8, August 2020, Page 76-78.

The Metaphysics of Experience styles itself as "a Sherpa guide to Process and Reality, whose function is to assist the serious reader in grasping the meaning of the text and to prevent falls into misinterpretation." Although originally published in 1925, Process and Reality has perhaps even more relevance to the contemporary scene in physics, biology, psychology, and the social sciences than it had in the mid-twenties. Hence its internal difficulty, its quasi-inaccessibility, is all the more tragic, since, unlike most metaphysical (...) endeavors, it is capable of interpretating and unifying theories in the above sciences in terms of an organic world view, instead of selecting one theory as the paradigm and reducing all others to it. Because Alfred North Whitehead is so crucial to modern philosophy, The Metaphysics of Experience plays an important role in making Process and Reality accessible to a wider readership. (shrink)

Through an examination of a variety of cultural forms and texts, Sexy Bodies investigates the ways in which sexual bodies, sexual practices and sexualities are produced.Are bodies sexy? How? In what sorts of ways? Sexy Bodies investigates the production of sexual bodies and sexual practices, of sexualities which are dyke, bi, transracial, and even hetero. It celebrates lesbian and queer sexualities but also explores what runs underneath and within all sexualities, discovering what is fundamentally weird and strange about all bodies, (...) all carnalities.Looking at a pleasurable variety of cultural forms and texts, the contributors consider the particular charms of girls and horses, from National Velvet to Marnie; discuss figures of the lesbian body from vampires to tribades to tomboys; uncover 'virtual' lesbians in the fiction of Jeanette Winterson; track desire in the music of legendary Blues singers; and investigate the ever-scrutinised and celebrated body of Elizabeth Taylor. The collection includes two important pieces of fiction by Mary Fallon and Nicole Brossard. (shrink)

Narrative is now a commonly used term in medical education, ethics, and practice. Yet the concept of narrative defies singular definition, and definitional and functional pluralism about narrative in health care remains underappreciated. Diverse conceptualizations of narrative are generically grouped under umbrella terms like “medical humanities” or “narrative medicine.” Such broad grouping risks undermining attention to relevant differences in use, meaning, or theory of narrative, overestimating the scope of certain criticisms of narrative practice or use, while overlooking more insidious concerns. (...) This essay moves toward a conceptual clarification of narrative in medicine through a process of naming and sorting. Narrative conceptualizations are grouped into narrative premises which include descriptive and normative claims about narrative, and narrative practices, which put narrative into action as process, method, or tool. A philosophical pragmatist approach to narrative in medicine reworks narrative anxieties about fact and fiction, truth or falsehood, in terms of the justifiability of belief, the inclusion or exclusion of experience, and the rationality of practices that are never perfect and always up for revision. (shrink)

This paper analyses a situation where a patient's suffering provoked feelings of compassion in a student nurse, and distress at her patient's circumstances. The reported behaviour of qualified nurses within the situation suggests that they lacked compassion, had inadequate knowledge, and that they failed to understand their patient's plight. An account of the situation is followed by an exploration of the nature of moral agency, and understanding in nursing. Nurses' capacity for moral imagination is shown to be of crucial importance (...) to the care that patients receive. The extent of nurses' responsibility for their behaviour is considered, and in particular, the extent of nurses' responsibility during times when they experience strain. Argument leads to the conclusion that we are justified in holding nurses responsible for their behaviour in situations of patient care, although we must not judge a nurse's behaviour too hastily. Attention is drawn to the need for a moral climate to sustain those nurses who struggle to give good patient care, despite the strain that is ever present within today's world of health care. (shrink)

ABSTRACT To what extent, this article asks, does the drive to reconcile psychoanalysis with neuroscience risk participating in a movement of appropriation, an attempt to reduce the event of psychoanalysis? This article shows how the neuro-psychoanalytic attempt to locate a psychoanalytic understanding of the mind in the brain does not end up correlating psychoanalysis with neuroscience; rather, it points to another, less conciliatory model for their relationship. In psychoanalysis, neurology encounters a Fremdkörper, something unassimilable to its inside, something forever inside-outside (...) any neurological theory of trauma. This Fremdkörper prevents neurology from reducing neurological traumas to mere cerebral laws; it is what makes every neurological trauma traumatic in its own way. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 44-57 [Access article in PDF] Literary Biography: The Cinderella of Literary Studies Michael Benton There are no prizes for guessing who are the two ugly sisters: Criticism, the elder one, dominated literary studies for the first half of the twentieth century; theory, her younger sister, flounced to the fore in the second half. Meanwhile, 'Cinders,' who had been doing the chores for (...) centuries, has been magically transformed in recent times, decked out in new clothes by Richard Holmes, Claire Tomalin, Juliet Barker, Peter Ackroyd et al., and, as the millennium approached, celebrated and admired on all sides. At the start of the new century, literary biography remains in vogue. The bibliography that carries it forward is rolling, and there is no sign of it turning into a pumpkin. Why is Cinderella so popular?One obvious if superficial answer might be that literary biography is where literary people go who find the contemporary preoccupation with theory to be personally undernourishing and critically unenlightening; they would rather stay with the literary works themselves and with the lives, the minds, and the times that produced them. Yet it is not only literary biography that is thriving; life writing in general is the fastest-growing area of mainstream publishing, evidence for which can be seen in Waterstone's flagship store in London's Piccadilly, which devotes its prime ground-floor site to thousands of biographies. This commercial high profile is responding to an evident, if unfocused, need to look at other lives and understand them. Individual reasons for the popularity of biography range from prurient interest and hero worship to a, perhaps unrecognized, search for coherence and purpose in an age that is often disinclined either to accept institutional values or to respect traditional authority. The motives for this search usually include the desire for recognizable success, to which end the invention of a convincing identity is essential. Biographies offer models of how others live, face challenges, and cope with change; they are prime sites for studying ourselves. Curiously, this justification for biography as providing [End Page 44] a model for living was felt most strongly when this literary genre first emerged in the eighteenth century. The difference today is that the model has changed: Biography as a moral exemplum based upon Christian principles has been replaced in today's celebrity culture by the demand for models of success provided by public personalities. Nonetheless, whatever the range of satisfactions readers seek in biography, life writing offers, in one form or another, detailed pictures of widely different ways of living and amid these, perhaps, some clues to how an individual sense of identity might be shaped.Literary biographies (i.e., biographies of writers, not biographies with a particular literary quality) are a significant and, in some respects, a unique subgenre since they purport to offer access to the creative imagination. They have a long and distinguished history from Johnson and Boswell to the present day; they are sometimes written by other novelists (Elizabeth Gaskell on Charlotte Bronte, Peter Ackroyd on Dickens); and autobiographical writing may take the form of poetry (Wordsworth) or fiction (Joyce).1 Furthermore recent writing in this field has increasingly introduced elements of metabiography in books by Adam Sisman2 and Lucasta Miller.3 It is evident, therefore, that literary biography offers a rich and varied area of study that raises issues about the relationships among biography, history, fiction, and poetry that are fundamental to aesthetic education.Yet despite this promise, it has become a truism to declare that biography has failed to establish any theoretical foundations upon which to build. Backscheider quotes Ira Nadel's remark on the absence of "a sustained theoretical discussion of biography incorporating some of the more probing and original speculations about language, structure, and discourse that have dominated post-structuralist thought."4 She goes on to lament the poverty of criticism; the absence of a cultivated readership; the failure to engage even with the practical questions of selection, organization, or presentation; and indicates that readers of biography are too easily... (shrink)

What do we mean when we call a work of art "beautiful"? How have artists responded to changing notions of the beautiful? Which works of art have been called beautiful, and why? Fundamental and intriguing questions to artists and art lovers, but ones that are all too often ignored in discussions of art today. Elizabeth Prettejohn argues that we simply cannot afford to ignore these questions. Charting over two hundred years of western art, she illuminates the vital relationship between (...) our changing notions of beauty and specific works of art, from the works of Kauffman to Whistler, Ingres to Rosetti, Cezanne to Pollack. Beautifully illustrated with 100 photographs--60 in full color--Beauty and Art concludes with a challenging question for the future: Why should we care about beauty in the twenty-first century? (shrink)

The charge of treason and the judgment of insanity have left questions that invariably intrude on an assessment of Pound’s life and work. Critics frequently adopt a strategy of separating the life and the work, but tactical review is often necessary. There is a lightness in Pound’s writing that speaks of a being detached from the concerns of the world. Yet with his economic theory of social credit, his political and racial views, as well as his concern for other writers, (...) he is of the world—in the world and part of it. He was decidedly not tied to geography. He had no region or period, and he was as comfortable in Confucian China as in Dante’s Florence or twentieth-century Rome. He could work anywhere. He wrote The Pisan Cantos while jailed in Italy. The Cantos were published while he was in a mental wart at St. Elizabeths, yet a court found that he could not understand the charges against him. Can such an impairment and such achievement occur at the same time? If you say no, then what of the treason? Did he feign madness to escape punishment? Could Pound have been convicted of treason?In this paper, I intend to examine what has been loosely referred to as “the trial of Ezra Pound” and to show that Pound’s case should have been brought to trial within one or two years after his commitment to St. Elizabeths because he had a reasonable chance of being found not guilty of treason; even if found guilty, the circumstances in mitigation of a long prison term would have been so evident that he would have likely spent considerably less time in prison than he spent locked up at the mental institution. I will do this, in part, by reviewing the similarities and differences between Pound’s case and three other treason cases that came to trial within the first years after World War II. The English case, Rex v. Joyce, was tried shortly after the close of the war and well before Pound’s competency hearing on 13 February 1945.3 The law applied in Joyce would have led Pound’s lawyer to seek some postponement of trial until the American courts decided whether to follow the English lead. The other two cases involve the Americans, Douglas Chandler and Robert Best, employees of German radio, who were indicted with Pound in 1943. 3. William Joyce was an American who came to be known as “Lord Haw Haw.” He was hanged at Wandsworth, England, 3 Jan. 1946. He was the best known of the “radio traitors.” He began his programs, “This is Jairmany calling,” and would then prophesy the destruction of English towns and cities. The name “Lord Haw Haw” was created by the English journalist, Jonah Barrington, to ridicule Joyce and to make him appear idiotic. Conrad L. Rushing is a Superior Court Judge in California and an occasional lecturer in law at the University of California, Berkeley. He teaches a course in law and literature at the California Judges College and is a founder of the Sane Jose Poetry Center. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Over the past decade, radical questioning of the grounds of Western epistemology has revealed that some antinomies of the aesthetic experience can be viewed as a general, yet necessarily open, model for human understanding. This book is a rigorous _explication de texte_ of a central text for this thesis, Kant's Analytic of the Sublime.

In recent years, historians of science have increasingly turned their attention to the “print culture” of early modern science. These studies have revealed that printing, as both a technology and a social and economic system, structured the forms and meanings of natural knowledge. Yet in early modern Europe, naturalists, including John Aubrey, John Evelyn, and John Ray, whose work is discussed in this paper, often shared and read scientific texts in manuscript either before or in lieu of printing. Scribal exchange, (...) exemplified in the circulation of writings like commonplace books, marginalia, manuscript treatises, and correspondence, was the primary means by which communities of naturalists constructed scientific knowledge. Print and manuscript were necessary partners. Manuscript fostered close collaboration, and could be circulated relatively cheaply; but, unlike print, it could not reliably secure priority or survival for posterity. Naturalists approached scribal and print communication strategically, choosing the medium that best suited their goals at any given moment. As a result, print and scribal modes of disseminating information, constructing natural knowledge, and organizing communities developed in tandem. Practices typically associated with print culture manifested themselves in scribal texts and exchanges, and vice versa. “Print culture” cannot be hived off from “scribal culture.” Rather, in their daily jottings and exchanges, naturalists inhabited, and produced, one common culture of communication. (shrink)