Monumental epic poem tells the heroic story of Aeneas, a Trojan who escaped the burning ruins of Troy to found Lavinium, the parent city of Rome, in the west.

Once upon a time, anthropology had something to offer philosophy. It was a time when Continential thinkers drew on anthropology's theoretical terms—mana, taboo, potlatch—in order to reflect on the limits of human belief and imagination. Among these philosophic dialogues with anthropology, we find Ludwig Wittgenstein's Remarks on Sir James Frazer's magnum opus, The Golden Bough. Now, Hau Books brings you the first translation by an anthropology—Stephan Palmié—of this masterpiece. Wittgenstein's remarks on ritual, magic, religion, belief, ceremony, and Frazer's own logical presuppositions are as lucid and thought-provoking now as they were over half-a-century ago. Anthropologists find themselves repeating many of Wittgenstein's same questions and confronting similar doubts today: Is metaphysics a kind of magic? What do we call “ritual”? Are humans simply “ceremonial animals”? This book is not only a fresh translation, but a fresh set of engagements with Wittgenstein's ideas from some of the world's most brilliant anthropologists. Contributors include: David Graeber, Veena Das, Michael Lambek, Heonik Kwon, Carlo Severi, Michael Taussig, Wendy James, Giovanni da Col, and Michael Puett. Here is a unique and well-overdue discussion of the mythologies in our language. Taking interdisciplinarity seriously, this volume returns to the ethnographic imagination that made great thinkers like Sigmund Freud, Jean-Paul Sartre, and indeed Ludwig Wittgenstein take heed—and returns the favor to the philosophical tradition that found wonder and pause for thought in the anthropological canon.

This important collection of essays acknowledges the long and distinctive history of the alternate history genre whilst also revelling in its vitality, adaptability, and contemporary relevance, with many of the chapters discussing late twentieth- and early twenty-first-century texts which have previously received little or no sustained critical analysis.

A postmodern masterpiece about fraud and forgery by one of the most distinctive, accomplished novelists of the last century. The Recognitions is a sweeping depiction of a world in which everything that anyone recognizes as beautiful or true or good emerges as anything but: our world. The book is a masquerade, moving from New England to New York to Madrid, from the art world to the underworld, but it centers on the story of Wyatt Gwyon, the son of a New England minister, who forsakes religion to devote himself to painting, only to despair of his inspiration. In expiation, he will paint nothing but flawless copies of his revered old masters—copies, however, that find their way into the hands of a sinister financial wizard by the name of Recktall Brown, who of course sells them as the real thing. Dismissed uncomprehendingly by reviewers on publication in 1955 and ignored by the literary world for decades after, The Recognitions is now established as one of the great American novels, immensely ambitious and entirely unique, a book of wild, Boschian inspiration and outrageous comedy that is also profoundly serious and sad.