His simple but profound musings—as well as Civil Disobedience, his protest against the government's interference with civil liberty—have inspired many to embrace his philosophy of individualism and love of nature.

    Dennett, whom Chet Raymo of The Boston Globe calls "one of the most provocative thinkers on the planet," focuses his unerringly logical mind on the theory of natural selection, showing how Darwin's great idea transforms and illuminates our traditional view of humanity's place in the universe. Dennett vividly describes the theory itself and then extends Darwin's vision with impeccable arguments to their often surprising conclusions, challenging the views of some of the most famous scientists of our day.

    And Man Creates God tells readers, for the first time, what religious feeling is really about, what it consists of, and how it originates. It is a beautifully written, very accessible book by an anthropologist who is highly respected on both sides of the Atlantic. As a scientific explanation for religious feeling, it is sure to arouse controversy.

    Gladwell showed us how snap decisions often yield better results than careful analysis. Now, Gigerenzer explains why our intuition is such a powerful decision-making tool. Drawing on a decade of research at the Max Plank Institute, Gigerenzer demonstrates that our gut feelings are actually the result of unconscious mental processes—processes that apply rules of thumb that we’ve derived from our environment and prior experiences. The value of these unconscious rules lies precisely in their difference from rational analysis—they take into account only the most useful bits of information rather than attempting to evaluate all possible factors. By examining various decisions we make—how we choose a spouse, a stock, a medical procedure, or the answer to a million-dollar game show question—Gigerenzer shows how gut feelings not only lead to good practical decisions, but also underlie the moral choices that make our society function. In the tradition of Blink and Freakonomics, Gut Feelings is an exploration of the myriad influences and factors (nature and nurture) that affect how the mind works, grounded in cutting-edge research and conveyed through compelling real-life examples.

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.

    She contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right.Arranged into five sections--In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free--this new collection poses questions we immediately recognize. What is The Social Network--and Facebook itself--really about? "It's a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore." Why do we love libraries? "Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay." What will we tell our granddaughters about our collective failure to address global warming? "So I might say to her, look: the thing you have to appreciate is that we'd just been through a century of relativism and deconstruction, in which we were informed that most of our fondest-held principles were either uncertain or simple wishful thinking, and in many areas of our lives we had already been asked to accept that nothing is essential and everything changes--and this had taken the fight out of us somewhat."Gathering in one place for the first time previously unpublished work, as well as already classic essays, such as, "Joy," and, "Find Your Beach," Feel Free offers a survey of important recent events in culture and politics, as well as Smith's own life. Equally at home in the world of good books and bad politics, Brooklyn-born rappers and the work of Swiss novelists, she is by turns wry, heartfelt, indignant, and incisive--and never any less than perfect company. This is literary journalism at its zenith.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    There are other ancestors, too: the writers—“most of them dead, and quite a few of them French"—who are his daily companions, supplemented by composers and theologians and scientists whose similar explorations are woven into this account with an exhilarating breadth of intellect and felicity of spirit.Deadly serious, masterfully playful, and surprisingly hilarious, Nothing to Be Frightened Of is a riveting display of how this supremely gifted writer goes about his business and a highly personal tour of the human condition and what might follow the final diagnosis.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    When the online storytelling magazine SMITH asked readers to submit six-word memoirs, they proved a whole, real life can be told this way, too. The results are fascinating, hilarious, shocking, and moving. From small sagas of bittersweet romance ("Found true love, married someone else") to proud achievements and stinging regrets ("After Harvard, had baby with crackhead"), these terse true tales relate the diversity of human experience in tasty bite-size pieces. The original edition of Not Quite What I Was Planning spent six weeks on the New York Times bestseller list, and thanks to massive media attention—from NPR to the The New Yorker—the six-word memoir concept spread to classrooms, dinner tables, churches, synagogues, and tens of thousands of blogs. This deluxe edition has been revised and expanded to include more than sixty never-before-seen memoirs. From authors Elizabeth Gilbert, Richard Ford, and Joyce Carol Oates to celebrities Stephen Colbert, Mario Batali, and Joan Rivers to ordinary folks around the world, everyone has a six-word story to tell.

    In this groundbreaking analysis, over thirty of the most popular treatments—acupuncture, homeopathy, aromatherapy, reflexology, chiropractic, and herbal medicines—are examined for their benefits and potential dangers. Questions answered include: What works and what doesn't? What are the secrets, and what are the lies? Who can you trust, and who is ripping you off? Can science decide what is best, or do the old wives' tales really tap into ancient, superior wisdom?In their scrutiny of alternative and complementary cures, authors Simon Singh and Edzard Ernst also strive to reassert the primacy of the scientific method as a means for determining public health practice and policy.

    Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver. All six of these writers were alcoholics, and the subject of drinking surfaces in some of their finest work, from Cat on a Hot Tin Roof to A Moveable Feast. Often they did their drinking together—Hemingway and Fitzgerald ricocheting through the cafés of 1920s Paris; Carver and Cheever speeding to the liquor store in Iowa in the icy winter of 1973.Olivia Laing grew up in an alcoholic family herself. One spring, wanting to make sense of this ferocious, entangling disease, she took a journey across America that plunged her into the heart of these overlapping lives. As she travels from Cheever's New York to Williams' New Orleans, from Hemingway's Key West to Carver's Port Angeles, she pieces together a topographical map of alcoholism, from the horrors of addiction to the miraculous possibilities of recovery. Beautiful, captivating and original, The Trip to Echo Spring strips away the myth of the alcoholic writer to reveal the terrible price creativity can exert.

    Whether it’s voyeurism, exhibitionism, or your run-of-the-mill foot fetish, we all possess a suite of sexual tastes as unique as our fingerprints—and as secret as the rest of the skeletons we’ve hidden in our closets.Combining cutting-edge studies and critiques of landmark research and conclusions drawn by Sigmund Freud, Alfred Kinsey, and the DSM-5, Bering pulls the curtain back on paraphilias, arguing that sexual deviance is commonplace. Bering confronts hypocrisy, prejudice, and harm as they relate to sexuality on a global scale. Humanizing so-called deviants while at the same time asking serious questions about the differences between thought and action, he presents us with a challenge: to understand that our best hope of solving some of the most troubling problems of our age hinges entirely on the amoral study of sex.

    Presenting itself as an investigation into the suicide of a close friend—perhaps real, perhaps fictional—more than twenty years earlier, Levé gives us, little by little, a striking portrait of a man, with all his talents and flaws, who chose to reject his life, and all the people who loved him, in favor of oblivion. Gradually, through Levé’s casually obsessive, pointillist, beautiful ruminations, we come to know a stoic, sensible, thoughtful man who bears more than a slight psychological resemblance to Levé himself. But Suicide is more than just a compendium of memories of an old friend; it is a near-exhaustive catalog of the ramifications and effects of the act of suicide, and a unique and melancholy farewell to life.

    He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology, and horoscope. When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague." Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.