But what do those myths represent, and why are they so enduringly fascinating? Why do they seem to be such a potent way of talking about our selves, our origins, and our desires? This imaginative and stimulating Very Short Introduction goes beyond a simple retelling of the stories to explore the rich history and diverse interpretations of classical mythology. It is a wide-ranging account, examining how classical myths are used and understood in both high art and popular culture, taking the reader from the temples of Crete to skyscrapers in New York, and finding classical myths in a variety of unexpected places: from Arabic poetry and Hollywood films, to psychoanalysis, the Bible, and New Age spiritualism.#167

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    Here is the Naked Ape at his most primal in love, at work, at war. Meet man as he really is: relative to the apes, stripped of his veneer as we see him courting, making love, sleeping, socializing, grooming, playing. The Naked Ape takes its place alongside Darwin’s Origin of the Species, presenting man not as a fallen angel, but as a risen ape, remarkable in his resilience, energy and imagination, yet an animal nonetheless, in danger of forgetting his origins. With its penetrating insights on man's beginnings, sex life, habits and our astonishing bonds to the animal kingdom, The Naked Ape is a landmark, at once provocative, compelling and timeless.

    In one afterlife, you may find that God is the size of a microbe and unaware of your existence. In another version, you work as a background character in other people’s dreams. Or you may find that God is a married couple, or that the universe is running backward, or that you are forced to live out your afterlife with annoying versions of who you could have been. With a probing imagination and deep understanding of the human condition, acclaimed neuroscientist David Eagleman offers wonderfully imagined tales that shine a brilliant light on the here and now.

    As the defiant but sensitive young genius is creating his theory of relativity, a new conception of time, he imagines many possible worlds. In one, time is circular, so that people are fated to repeat triumphs and failures over and over. In another, there is a place where time stands still, visited by lovers and parents clinging to their children. In another, time is a nightingale, sometimes trapped by a bell jar.Now translated into thirty languages, Einstein’s Dreams has inspired playwrights, dancers, musicians, and painters all over the world. In poetic vignettes, it explores the connections between science and art, the process of creativity, and ultimately the fragility of human existence.

    Tolkien assembled in this new paperback edition were with one exception delivered as general lectures on particular occasions; and while they mostly arose out of Tolkien’s work in medieval literature, they are accessible to all. Two of them are concerned with Beowulf, including the well-known lecture whose title is taken for this book, and one with Sir Gawain and the Green Knight, given in the University of Glasgow in 1953.Also included in this volume is the lecture English and Welsh; the Valedictory Address to the University of Oxford in 1959; and a paper on Invented Languages delivered in 1931, with exemplification from poems in the Elvish tongues. Most famous of all is On Fairy-Stories, a discussion of the nature of fairy-tales and fantasy, which gives insight into Tolkien’s approach to the whole genre.The pieces in this collection cover a period of nearly thirty years, beginning six years before the publication of The Hobbit, with a unique ‘academic’ lecture on his invention (calling it A Secret Vice) and concluding with his farewell to professorship, five years after the publication of The Lord of the Rings.

    His previous books, including the Pulitzer Prize finalist The Blank Slate, have catapulted him into the limelight as one of today's most important and popular science writers. Now, in The Stuff of Thought, Pinker marries two of the subjects he knows best: language and human nature. The result is a fascinating look at how our words explain our nature. What does swearing reveal about our emotions? Why does innuendo disclose something about relationships? Pinker reveals how our use of prepositions and tenses taps into peculiarly human concepts of space and time, and how our nouns and verbs speak to our notions of matter. Even the names we give our babies have important things to say about our relations to our children and to society. With his signature wit and style, Pinker takes on scientific questions like whether language affects thought, as well as forays into everyday life: why is bulk e-mail called spam and how do romantic comedies get such mileage out of the ambiguities of dating? The Stuff of Thought is a brilliantly crafted and highly readable work that will appeal to fans of readers of everything from The Selfish Gene and Blink to Eats, Shoots & Leaves.

    In The Lost Art of Reading, David L. Ulin asks a number of timely questions - why is literature important? What does it offer, especially now? Blending commentary with memoir, Ulin addresses the importance of the simple act of reading in an increasingly digital culture. Reading a book, flipping through hard pages, or shuffling them on screen - it doesn't matter. The key is the act of reading, and it's seriousness and depth. Ulin emphasizes the importance of reflection and pause allowed by stopping to read a book, and the accompanying focus required to let the mind run free in a world that is not one's own. Are we willing to risk our collective interest in contemplation, nuanced thinking, and empathy? Far from preaching to the choir, The Lost Art of Reading is a call to arms, or rather, to pages.

    Lewis's classic analysis springs from the conviction that literature exists for the joy of the reader and that books should be judged by the kind of reading they invite. Crucial to his notion of judging literature is a commitment to laying aside expectations and values extraneous to the work, in order to approach it with an open mind.

    Human tastes in the arts, Dutton argues, are evolutionary traits, shaped by Darwinian selection. They are not, as the past century of art criticism and academic theory would have it, just "socially constructed."Our love of beauty is inborn, and many aesthetic tastes are shared across remote cultures—just one example is the widespread preference for landscapes with water and distant trees, like the savannas where we evolved. Using forceful logic and hard evidence, Dutton shows that we must premise art criticism on an understanding of evolution, not on abstract "theory." He restores the place of beauty, pleasure, and skill as artistic values.Sure to provoke discussion in scientific circles and uproar in the art world, The Art Instinct offers radical new insights into both the nature of art and the workings of the human mind.

    Using his relationships within the drug distribution realm, Richard catapults his growing empire, taking down anyone who stands in his way. Rich Kid’s Family soon becomes a force to reckon with; one that evokes fear in the hearts of all those who dare to cross them. The bloodshed, and bodies through the inner streets of Miami are the only remnants of this ghost crew; leaving detectives within all agencies baffled and astonished with the gruesomeness of the local murders. While hot on the trail, of what seems to be a small-time local drug dealer, the Drug Enforcement Agency investigates the street dealer named Richard Gary. The closer the D.E.A gets to Richard Gary, the more they find out about his alias, Rich Kid, who is well-known within South Miami, but the D.E.A. acts too soon. With nothing to hold him on, they hand Richard over to the federal government for tax evasion charges. With their leader behind bars, The Family must now learn how to operate without him. Will the mistakes they make rip them apart at the seams or will Richard find a way to avenge his crew from behind bars?

    A sullen and arrogant graduate student, he never thought Austen would have anything to offer him. Then he read Emma—and everything changed. In this unique and lyrical book, Deresiewicz weaves the misadventures of Austen’s characters with his own youthful follies, demonstrating the power of the great novelist’s teachings—and how, for Austen, growing up and making mistakes are one and the same. Honest, erudite, and deeply moving, A Jane Austen Education is the story of one man’s discovery of the world outside himself.

    Yet The Origin of Species (1859) is also a humane and inspirational vision of ecological interrelatedness, revealing the complex mutual interdependencies between animal and plant life, climate and physical environment, and—by implication—within the human world. Written for the general reader, in a style which combines the rigour of science with the subtlety of literature, The Origin of Species remains one of the founding documents of the modern age.

    In the course of unpacking some of her own stories—of her mother and her decline from memory loss, of a trip to Iceland, of an illness—Solnit revisits fairytales and entertains other stories: about arctic explorers, Che Guevara among the leper colonies, and Mary Shelley’s Dr. Frankenstein, about warmth and coldness, pain and kindness, decay and transformation, making art and making self. Woven together, these stories create a map which charts the boundaries and territories of storytelling, reframing who each of us is and how we might tell our story.

    Whether covering the three-ring circus of a vicious presidential race, plunging into the wars between dictionary writers, or confronting the World's Largest Lobster Cooker at the annual Maine Lobster Festival, Wallace projects a quality of thought that is uniquely his and a voice as powerful and distinct as any in American letters.Contains: "Big Red Son," "Certainly the End of Something or Other, One Would Sort of Have to Think," "Some Remarks on Kafka's Funniness from Which Probably Not Enough Has Been Removed," "Authority and American Usage," "The View from Mrs. Thompson's," "How Tracy Austin Broke My Heart," "Up, Simba," "Consider the Lobster," "Joseph Frank's Dostoevsky" and "Host."