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Acknowledgments

Introduction

Mark T. Conard

Part 1. The Coen Brand of Comedy and Tragedy

Raising Arizona as an American Comedy

Richard Gilmore

The Human Comedy Perpetuates Itself: Nihilism and Comedy in Coen Neo-Noir

Thomas S. Hibbs

Philosophies of Comedy in O Brother, Where Art Thou?

Douglas McFarland

No Country for Old Men: The Coens’ Tragic Western

Richard Gilmore

Deceit, Desire, and Dark Comedy: Postmodern Dead Ends in Blood Simple

Alan Woolfolk

Part 2. Ethics: Shame, Justice, and Virtue

“And It's Such a Beautiful Day!” Shame and Fargo

Rebecca Hanrahan and David Stearns

Justice, Power, and Love: The Political Philosophy of Intolerable Cruelty

Shai Biderman and William J. Devlin

Ethics, Heart, and Violence in Miller's Crossing

Bradley L. Herling

“Takin’ ’er Easy for All Us Sinners”: Laziness as a Virtue in The Big Lebowski

Matthew K. Douglass and Jerry L. Walls

No Country for Old Men as Moral Philosophy

Douglas McFarland

Part 3. Postmodernity, Interpretation, and the Construction of History

Heidegger and the Problem of Interpretation in Barton Fink

Mark T. Conard

The Past Is Now: History and The Hudsucker Proxy

Paul Coughlin

“A Homespun Murder Story”: Film Noir and the Problem of Modernity in Fargo

Jerold J. Abrams

Part 4. Existentialism, Alienation, and Despair

“What Kind of Man Are You?” The Coen Brothers and Existentialist Role Playing

Richard Gaughran

Being the Barber: Kierkegaardian Despair in The Man Who Wasn't There

Karen D. Hoffman

Thinking beyond the Failed Community: Blood Simple and The Man Who Wasn't There

R. Barton Palmer

List of Contributors

Index