By Joshua Cohen
"Joshua Cohen has created a visionary novel that's terrifying and heartbreaking and humbling in its luminous brilliance. in my opinion, it firmly locations the writer at the related point as Kafka."—Michael Disend, writer of Stomping the Goyim
"The concept that there are a number of heavens, correct ones and improper ones, white ones and black ones, is driven to its fantastical limits by means of Brooklyn author Joshua Cohen in his dream-world novel of the afterlife. . . . Heaven is a not easy yet worthwhile learn on thematic and formal levels."—The Brooklyn Rail
"A breathless flight of managed delirium, an exquisitely blasphemous travel of an afterlife the place earth's dominion, in all its terror and glory, trumps the excellent and overturns the realm to return. . . . It's a courageous publication that are meant to earn its younger writer the reader's profound and enduring admiration."—Steve Stern, writer of The Frozen Rabbi
When a ten-year-old Jewish boy is exploded on a Jerusalem road by way of a ten-year-old Palestinian boy, he wakes up in a heaven not anyone in his culture ready him for, a heaven of others. Joshua Cohen's novel stands on the crossroads of a conflicted urban and wordplay that either celebrates and dismantles culture.
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Nevertheless, it would be unreasonable to hold Scott responsible for the fact that the three-volume format retained its dominance almost to the end of the nineteenth century, with its inflated 1820s price still intact. 8 The standard Victorian triple-decker was, of course, unlikely to sell more than a thousand copies, never mind 10 000, and was aimed less at wartime speculators than at the patrons of the circulating libraries, who showed a very limited interest in taking risks. The vogue of circulating libraries had begun as early as the mid-eighteenth century, but the custom of borrowing and sharing reading matter, rather than purchasing it for private use, was greatly encouraged by the inflated prices for literature in the first quarter of the nineteenth century.
It did this not only by inserting what had hitherto been seen as the proletarian themes of violence, infidelity and insanity into bourgeois settings, but also by encouraging the middle classes to participate in the proletarian mode of weekly serialization. Braddon had succeeded in ‘making the literature of the kitchen the favourite reading of the Drawing-room’, as Fraser Rae (98) put it in 1865, while a review of Collins’s Armadale the following year saw ‘Sensational Mania’ as a ‘virus . . 28 The general point is that during this middle stage, the dominant position of the monthly serial underwent a serious and finally successful challenge from the weekly serial, both in the form of cheap family miscellanies issued in the metropolis, and led by Dickens’s own journals, and in the many news miscellanies that sprang up like mushrooms in the provincial cites in the wake of the removal of the taxes on knowledge.
The stamp duty was thereby levied on all periodicals containing news or comments on news,7 published more frequently than once in 26 days, printed on not more than two sheets (eight larger or sixteen smaller pages), and priced at less than 6d before the imposition of the tax. Specifically exempt were papers ‘containing only matters of devotion, piety, or charity’ and part-issues of books in reprint, but considerable discretion concerning what actually counted as ‘news’ was left to the Board of Inland Revenue, which alone had the power to initiate a prosecution (RSC51).
A Heaven of Others by Joshua Cohen