Chapter 4 analyzes the concept of the unnameable or ineffable in ritual and art. The ineffable refers to the difficulty of comprehending specific contexts of intense individual and collective experience that frequently arise during the ritual process. The ensuing totality or emptiness of meaning emerges as a challenge to account for that which eludes logical representation within the social order. The chapter also explores how the experience of the ineffable manifests in the realm of art and aesthetic experience, investigating how this problem has been addressed within continental philosophy, particularly within phenomenology and poststructuralism. Finally, the chapter analyzes poetry’s role as a privileged means of accounting for that which lacks a name and apparent meaning, and of presenting itself to consciousness’s immediacy. Through poetry, it becomes possible to preserve the transient process of the experience of the hidden and unnameable in its existential and anthropological dimensions.

This illustrates the theme of patient-centred spirituality by way of two case studies: one of a clinical encounter of the author with a patient in which neither spirituality nor religion was explicitly mentioned, and another in which the author was asked to see a patient because of a specifically religious concern. The first of these is interpreted in light of the work on spirituality in psychotherapy undertaken by Jeremy Holmes who, in turn, takes up the thinking of Donald Winnicott about transitional space. Spirituality is concerned with an ability to adopt a viewpoint outside oneself and to develop humility and a ‘negative capability’. The published views of patients suggest that spirituality/religion are explicitly important to many, even in a secular country like the UK, and that they would like them to be taken into account in treatment. It is proposed that there is ‘no such thing as a patient’, only encounters between human beings, one of whom is professionally identified as a physician (psychiatrist) and one as a patient. The authenticity of the human encounter, albeit within certain professional constraints, forms the basis for an effective therapeutic alliance.

Chapter 8 looks at a critical moment in Keats’s life in order to trace the way, in his letters, he works through a crucial decision about his future as a writer. Focusing on a series of interlinked and in some ways ‘porous’ letters written during a single week in September 1819, the chapter discusses Keats’s sense that he is, or soon will be, ‘unpoeted’ – that he can no longer be a poet. Alone in the small city of Winchester, Keats writes a series of often overlapping letters that ultimately move him towards a decision concerning whether or not to end his career as a poet. The chapter aligns the specific circumstances of the limited space of the cathedral city in which Keats is temporarily staying with the limited space of the letter-page itself and examines how he resolves a critical life choice in and through correspondence.

As prophetic texts were charged with new meanings by readers of the Bible in the eighteenth and nineteenth centuries, exegetes, philosophers, artists, and poets tried to define what made a prophet strong and successful, hoping to find new models for artistic inspiration and political and national leadership, as well as integrity, courage, and authenticity. Yet even as prophetic figures were idealized as powerful men who could stride with towering authority and speak with majestic resonance, they also served as emblems of exile, failure, and alienation. Modern representations of prophecy vacillate between emptiness and fullness, strength and weakness. This instability in the representation of prophets and prophecy originates in the biblical text itself. We can trace a countertradition of poets, who, rather than trying to find heroes, create hierarchies, and systematize the biblical text, using prophecy’s instability to enliven and enrich their own texts. They actively exploit the fissures of both ancient and modern prophecy to create stirring, innovative, and often radical literary works from prophetic weakness itself.