By integrating the fragmented research on emergency services, armed forces, and humanitarian organizations, this book identifies the components of a new theory on frontline crisis response. To begin with, the work of responders is characterized by persistent operational dilemmas. Since there are no universal solutions, they need to adapt their approaches and decisions to the situational contingencies of a crisis. These adaptations continue throughout the crisis response process as the situation evolves. Responders usually pragmatically act their way through operational dilemmas in the crisis response process. These experiences nevertheless have an existential effect on their identities and lives. Thus, the new theory comprises operational dilemmas, situational contingencies, response processes, pragmatic principles, and existentialist ideas. This theory offers a basis for crisis response improvements and contributes to the literature on strategic crisis management, frontline work in organizations, reliable organizing in risky contexts, and post-crisis operations. The chapter ends with a research agenda and a call for more academic engagement with frontline crisis response.

On March 21, 1918, the German Army launched “Operation Michael” against British positions around Arras as the first stage of an offensive along the Western Front. Bolstered by reinforcements from the Eastern Front after the October 1917 Revolution and cessation of hostilities with Russia, the Kaiserschlacht, as it was called, represented a final gambit to win the war. A few days after the start of this titanic onslaught, Georg Simmel confided in a letter of March 25 to his friend Hermann Graf von Keyserling: “Now I am in the midst of very difficult ethical and metaphysical investigations […]” (G. Simmel, Briefe 1912–1918. Jugendbriefe. Frankfurt: Suhrkamp, 2008). It was not only premature aging that conspired against reaping his philosophical harvest: Simmel had been diagnosed with terminal liver cancer. As he writes to his friend, he finds himself in “very bad health” and severely reduced in “intellectual energy.”

Chapter 3 represents a brief foray into the broad topic of nihilism in English Romanticism. It begins with a close reading of Lord Byron’s poem Manfred, which tells the story of a man who is tormented by knowledge and in a sense dies as a result of it. Manfred is a kind of Faustian figure zealous for learning. He pursues his occult studies alone in a tower in the Alps. Over time he attains powers of magic that allow him to evoke supernatural spirits. Manfred is haunted by a memory in the past that leaves him no rest. This is read as an autobiographical reference to Byron’s incestuous relations with his half-sister, Augusta Leigh, which resulted in such a scandal that he felt obliged to leave England forever. Manfred seeks in vain for help from the different spirits of nature, who are unable to oblige him in his request to make him forget his past completely. Manfred heroically rejects that even the most powerful spirit can stand in the way of his freedom, and he insists on dying on his own terms. The chapter concludes with a brief analysis of Shelley’s famous poem “Ozymandias,” which is read as a call for self-reflection on the fleetingness of our existence and all human accomplishment.

Chapter 2 gives a reading of the obscure work The Nightwatches by the dramatist August Klingemann. The protagonist Kreuzgang is an odd outsider, highly critical of society around him. He is a night watchman, who goes out each night and observes people in their ordinary lives. Kreuzgang begins with some semblance of normalcy but then becomes increasingly disenchanted with the world until he finally fully embraces nihilism. Klingemann presents a mishmash of carefully framed scenes of horror and despair. It is a gallery of personalities with strange images and stories. People are portrayed as vain, pretentious, cruel, and hypocritical. The work raises the question of whether we, as human beings, are really anything beyond the social masks that we wear. Theater metaphors are often used to emphasize the idea there is nothing substantial in human life, but we are all playing meaningless roles, and then we die. Kreuzgang’s description of his fellow inmates in the insane asylum reveals an inverted world where what is usually accepted as reasonable by mainstream society is in fact irrational, and vice versa. The mad are the sane in an insane world.

The Introduction begins with an attempt to understand the concept of nihilism itself. Six different aspects of the concept are identified and briefly explored. While nihilism is usually associated with twentieth-century schools, it is argued that in fact the true origins of modern nihilism can be found in the rapid development of the sciences in the Enlightenment. The scientific perspective revealed the seemingly insignificant role of humans in the universe and led to a struggle with nihilism, which became an important topic for many thinkers in the nineteenth century. Five theses are outlined: (1) the problem of modern nihilism arose in the wake of the scientific development of the Enlightenment; (2) nihilism was not a local issue confined only to a specific place or country, but instead was something central to the general Zeitgeist of the entire nineteenth century in Europe and the West; (3) nihilism was not a problem confined to philosophy, but it received detailed treatment in works of poetry, drama, and other forms of literature; (4) the problem of nihilism is more widespread than has been acknowledged; and (5) the discussions of nihilism in the nineteenth century anticipate the key topics of the existentialist movement.

With the publication of various translations of French surrealist essays and poems in Japanese avant-garde publications of the 1930s, small groups of writers and individual artists began to make surrealism their own. However, due to the multifarious misunderstandings and often inaccurate adaptations of these texts resulting from their translation into Japanese, the term chō-genjitsushugi (surrealism) expanded to incorporate culturally and regionally specific concerns and concepts. Novelist Kōbō Abe surveyed post-war Japan from a very particular vantage point, having spent years of his life witnessing war and conflict in Manchuria before settling in Tokyo’s metropolis. This chapter examines Abe’s engagement with French surrealism, his frequently black (surrealist) humour, and the quest for the marvellous that manifests across his oeuvre. Writing against the grain of Japanese modernist literary convention, Abe’s surrealism revels in the convulsive beauty of metamorphoses via animal, mineral, and plastic forms. Through the figures of the box, the mask, the dendrocalcalia, or the cocoon of thread, the reader is aligned with narrators who disrupt and critique the order of things, disturbing the surface so as to reveal a sham society that seems hellbent on dehumanizing its citizens.

This chapter examines the history of Black diasporic fiction in the Atlantic world as it informed, and continues to be informed by, the artistic and geopolitical coordinates of the surrealist movement. From the surrealist interest in and appropriation of Blackness in Jazz-age Paris through the post-WWII development of pan-African and Third World movements, the writing and cultural production of African, Afro-Caribbean, and African American intellectuals fuelled the global development of leftist and anti-colonial politics. So too did Black writing and art both inform and, in part, constitute the proliferation of aesthetic radicalism throughout the Atlantic world. This chapter traces the intersecting histories of surrealism, existentialism, and the Black radical tradition through the production of fiction; in doing so it traces the politics of literary activism – as well as the vexed histories of racism, cultural appropriation, exploitation, and erasure – in the work of Black writers of the twentieth and twenty-first centuries. It contends not only that surrealism should be understood as a significant coordinate in the Black radical tradition (as e.g. Robin D.G. Kelley has demonstrated), but also that the surrealist movement is inconceivable without an appraisal of its relation to race, diaspora, and the writing and cultural production of Black intellectuals.

Forstenzer gives an account of Cornel West’s prophetic understanding of gratitude, itself a distillation of West’s existentialist world-view. As Forstenzer shows, gratitude is the foundation upon which West builds the conditions for overcoming the injustices of racism and inequality which are achieved through the mobilization of social movements. Westian gratitude is, above all, a recognition of those who came before, as well as a hope that sustains the long road to justice.

Tonstad asks whether a person’s experience of gratitude is determined internally or externally; put otherwise, do we choose to be grateful for the good that it will do us, or is gratitude a spontaneous response to the good outside of our control? Tonstad faults the popular effort–reward and cause–effects accounts of gratitude, which cultivate gratitude for its own sake, for failing to acknowledge the gratuity of gratitude, with its basis in the undeserved and uncontrollable nature of the gift, whilst ignoring the conditions of injustice that allow for one’s experience of gratitude.

This chapter examines the courses modernist Arabic poetry took in Iraq following Sayyāb’s premature death in 1964. ʿAbd al-Wahhāb al-Bayātī (d. 1999) was a well-known poetic rival of Sayyāb who remained affiliated with the Communist Party even after the difficulties Communists grappled with during the 1950s. As the decade went on, fallout from the Iranian coup was compounded by nearly-simultaneous revelations about the realities of Joseph Stalin’s authoritarian rule following his death in 1953. I focus on the existential crisis Bayātī faced when the hopeful possibilities of 1950s decolonization efforts became more and more limited in the face of rising totalitarianism in the Middle East. Despite the changing political situation in the region manifested in, for instance, the rise of the Iraqi Baath and the increasing authoritarianism of Gamal Abdel Nasser’s regime in Egypt, modernists continued to use the same techniques in the 1960s that their predecessors had employed two decades earlier. Specifically, like Nīmā before him, Bayātī uses another premodern Arabic poetic device – taḍmīn or “poetic quoting”– to sublate premodern traditions into modernist poetry.

The work of David Foster Wallace can be seen to critically renew ideas and concerns from existentialist philosophy and literature. Wallace repeatedly expressed his admiration of existentialist authors, and his fiction contains many explicit and implicit references to their writings. This chapter will provide an overview of the main themes and intertextual connections that Wallace’s work shares with the existentialists, such as a comparison with Sartre’s view of consciousness, Kierkegaard’s critique of irony, and Camus’s relation of meaningful existence to community; also, a brief comparative reading of the opening of Infinite Jest and Kafka’s “The Metamorphosis,” of “The Depressed Person” and Beauvoir’s “The Monologue,” and of “B.I. #20” and Dostoyevsky’s Notes from Underground. Overall, Wallace shares with these authors the conviction that philosophy and literature are partially overlapping activities, that some philosophical problems are best approached through literature, and that their works therefore blur the boundaries between these modes of writing.

The third force movement, grounded in the principles of existential philosophy, focuses on the individual in quest of identity, values, and authenticity. The nineteenth century writings of such figures as Kierkegaard, Nietzsche, and Dilthey formed the background for the view of the person as alone and dehumanized. The twentieth century works of Sartre, Camus, and Jaspers offered further expression to the basic state of anxiety and absurdity. The personalism of Emmanuel Mounier and Karol Wojtyła reintroduced the person within psychology. The methodological writings of Husserl and Heidegger contributed to the development of phenomenology as a means of investigating the holistic character of human experience. The combined existential–phenomenological psychology was an application of a new orientation in clinical settings, by such psychologists as Merleau-Ponty and Binswanger. In America, the humanistic viewpoints of Allport, Bühler, Maslow, May, and Rogers agreed generally with the European movement, and a center of existential-phenomenological psychology emerged at Duquesne University. Although it did not generate a comprehensive alternative to behaviorist formulations, the third force movement has exerted an impact on clinical applications, especially in therapeutic efforts.

The intellectual excitement of nineteenth-century Germany was reflected by the Romantic and Existential movements, although both had international aspects as well. Both movements were to some extent reactions against the dominant idealism of rationalism, coming primarily from Kant’s views on the active mind, constructing reality. Fichte, von Schelling, and Hegel explored the implication of Kant’s philosophy, with Hegel coming to dominate the age. Romanticism found its roots in Jean-Jacques Rousseau, and exerted tremendous influence in art, literature as well as philosophy, particularly in the first half of the nineteenth century. Recognizing the complexities of human experience, particularly in the dimensions of emotions, passions and desires, romanticism explored those aspects not readily explained by rational, intellectual processes. Existentialism was a direct reaction against rationalism and found initial expression in the nineteenth century by Kierkegaard, in Theology, and Dilthey, in psychology. Further, the Kantian notions of the strivings of the will and the unconscious were explored more fully by Schopenhauer and von Hartmann.