In other words, the normal critic will at once dismiss them as too frivolous and dislike them as too serious. The rather one-sided truce of good taste, touching all religious matters, which prevailed until a short time ago, has now given place to a rather one-sided war. But the truce can still be invoked, as such terrorism of taste generally is invoked, against the minority. We all know the dear old Conservative colonel who swears himself red in the face that he is not going to talk politics, but that damning to hell all those bloody blasted Socialists is not politics. We all have a kindly feeling for the dear old lady, living at Bath or Cheltenham, who would not dream of talking uncharitably about anybody, but who does certainly think the Dissenters are too dreadful or that Irish servants are really impossible. It is in the spirit of these two very admirable persons that the controversy is now conducted in the Press on behalf of a Progressive Faith and a Broad and Brotherly Religion. So long as the writer employs vast and universal gestures of fellowship and hospitality to all those who are ready to abandon their religious beliefs, he is allowed to be as rude as he likes to all those who venture to retain them. The Dean of St. Paul's permits himself genially to call the Catholic Church a treacherous and bloody corporation; Mr. H. G. Wells is allowed to compare the Blessed Trinity to an undignified dance; the Bishop of Birmingham to compare the Blessed Sacrament to a barbarous blood-feast. It is felt that phrases like these cannot ruffle that human peace and harmony which all such humanitarians desire; there is nothing in THESE expressions that could possibly interfere with brotherhood and the sympathy that is the bond of society. We may be sure of this, for we have the word of the writers themselves that their whole aim is to generate an atmosphere of liberality and love. If, therefore, any unlucky interruption mars the harmony of the occasion, if it is really impossible for these fraternal festivities to pass off without some silly disturbance, or somebody making a scene, it is obvious that the blame must lie with a few irritable and irritating individuals, who cannot accept these descriptions of the Trinity and the Sacrament and the Church as soothing their feelings or satisfying their ideas.

    Piercing the fog of mysticism and sentimentality that engulfs art, the essays in The Romantic Manifesto explain why, since time immemorial, man has created and consumed works of art.Ayn Rand argues that objective standards in art are possible because art is not a subjective luxury, but rather a critical need of human life—not a material need, but a need of man’s rational mind, the faculty on which his material survival depends.Ayn Rand explains the indispensable function of art in man’s life (ch. 1), the objective source of man’s deeply personal, emotional response to art (ch. 2), and how an artist’s fundamental, often unstated view of man and of the world shapes his creations (ch. 3).Turning to her own field of artistic creation, Rand elaborates (ch. 5) on her distinctive theory of literature and identifies principles by which to judge an artwork objectively. “What is Romanticism?” (ch. 6) sheds new light on the nature and philosophy of the school of literature under which Rand classified her own work. Later essays explain how contemporary art reveals the debased intellectual state of our culture (ch. 7, 8 and 9).In the final essay Rand articulates the goal of her own fiction writing as “the projection of an ideal man, as an end in itself”—and explains that she originated her philosophy as a means to this end.Table of ContentsIntroductionThe Psycho-Epistemology of ArtPhilosophy and Sense of LifeArt and Sense of LifeArt and CognitionBasic Principles of LiteratureWhat Is Romanticism?The Esthetic Vacuum of Our AgeBootleg RomanticismArt and Moral TreasonIntroduction to Ninety-ThreeThe Goal of My WritingThe Simplest Thing in the WorldIndex

    People fighting the good fight against homophobia, disablism, transphobia and, particularly, racism. People, possibly, like you.It is the comedian and writer David Baddiel’s contention that one type of racism has been left out of this fight. In his unique combination of reasoning, polemic, personal experience and jokes, Baddiel argues that those who think of themselves as on the right side of history have often ignored the history of anti-Semitism. He outlines why and how, in a time of intensely heightened awareness of minorities, Jews don’t count as a real minority.

    Here, acclaimed scholar Stephen Greenblatt explores it with profound appreciation for its cultural and psychological power as literature. From the birth of the Hebrew Bible to the awe-inspiring contributions of Augustine, Dürer, and Milton in bringing Adam and Eve to vivid life, Greenblatt unpacks the story’s many interpretations and consequences over time. Rich allegory, vicious misogyny, deep moral insight, narrow literalism, and some of the greatest triumphs of art and literature: all can be counted as children of our “first” parents.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Everyone knows this. Each of us contributes his share. But we tend to take the situation for granted. Most people are rather confident of their ability to recognize bullshit and to avoid being taken in by it. So the phenomenon has not aroused much deliberate concern. We have no clear understanding of what bullshit is, why there is so much of it, or what functions it serves. And we lack a conscientiously developed appreciation of what it means to us. In other words, as Harry Frankfurt writes, "we have no theory."Frankfurt, one of the world's most influential moral philosophers, attempts to build such a theory here. With his characteristic combination of philosophical acuity, psychological insight, and wry humor, Frankfurt proceeds by exploring how bullshit and the related concept of humbug are distinct from lying. He argues that bullshitters misrepresent themselves to their audience not as liars do, that is, by deliberately making false claims about what is true. In fact, bullshit need not be untrue at all.Rather, bullshitters seek to convey a certain impression of themselves without being concerned about whether anything at all is true. They quietly change the rules governing their end of the conversation so that claims about truth and falsity are irrelevant. Frankfurt concludes that although bullshit can take many innocent forms, excessive indulgence in it can eventually undermine the practitioner's capacity to tell the truth in a way that lying does not. Liars at least acknowledge that it matters what is true. By virtue of this, Frankfurt writes, bullshit is a greater enemy of the truth than lies are.

    In this essay, Jung applies his analytical skills to the UFO phenomenon. Rather than assuming that the modern prevalence of UFO sightings are due to extraterrestrial craft, Jung reserves judgment on their origin & connects UFOs with archetypal imagery, concluding that they have become a "living myth." This essay is intriguing in its methodology & implications as to the nature of UFOs & their relation to the human psyche.

    The concepts and practices of Buddhism, says Batchelor, are not something to believe in but something to do—and as he explains clearly and compellingly, it is a practice that we can engage in, regardless of our background or beliefs, as we live every day on the path to spiritual enlightenment.

    The Pedant's ambition is simple. He wants to cook tasty, nutritious food; he wants not to poison his friends; and he wants to expand, slowly and with pleasure, his culinary repertoire

    In this book, the author explains how Aikido is both the spirit of love and the study of that spirit. In unique and incisive language, Ueshiba discusses the arcane aspects of Aikido's aims and techniques, as well as the central importance of breathing, ki (chi), and Aikido's relationship to the spirit and body - these form the very essence of Aikido.He goes on to consider the virtues of this revered martial art, urging the reader to link to the universe through Aikido, and ultimately to unify the divine and human. He also explains the essence of Takemusu aiki (valorous force of procreation and harmony), and Misogi (the ritual of purifying oneself).The book includes many rare photos of the author - on both his techniques and his everyday life. Also included are his twenty-five doka (spiritual Japanese-style poems) in Japanese, English, and Romanization. The introduction was written by his grandson, Moriteru Ueshiba, the present Aikido Doshu.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    Paramahansa Yogananda presents an illuminating explanation of Lord Krishna's sublime Yoga message that he preached to the world - the way of right activity and meditation for divine communion.

    He taught that Zen is not about achieving a goal, but about acting spontaneously from "don't-know mind." It is from this "before-thinking" nature, he taught, that true compassion and the desire to serve others naturally arises. This collection of teaching stories, talks, and spontaneous dialogues with students offers readers a fresh and immediate encounter with one of the great Zen masters of the twentieth century.

    There, a bore is "a person who talks when you wish him to listen," and happiness is "an agreeable sensation arising from contemplating the misery of another." This is the most comprehensive, authoritative edition ever of Ambrose Bierce’s satiric masterpiece. It renders obsolete all other versions that have appeared in the book’s ninety-year history.A virtual onslaught of acerbic, confrontational wordplay, The Unabridged Devil’s Dictionary offers some 1,600 wickedly clever definitions to the vocabulary of everyday life. Little is sacred and few are safe, for Bierce targets just about any pursuit, from matrimony to immortality, that allows our willful failings and excesses to shine forth.This new edition is based on David E. Schultz and S. T. Joshi’s exhaustive investigation into the book’s writing and publishing history. All of Bierce’s known satiric definitions are here, including previously uncollected, unpublished, and alternative entries. Definitions dropped from previous editions have been restored while nearly two hundred wrongly attributed to Bierce have been excised. For dedicated Bierce readers, an introduction and notes are also included.Ambrose Bierce’s Devil’s Dictionary is a classic that stands alongside the best work of satirists such as Twain, Mencken, and Thurber. This unabridged edition will be celebrated by humor fans and word lovers everywhere.

    Loy.In little time, Loy has become one of the most powerful advocates of the Buddhist worldview, explaining like no one else its ability to transform the sociopolitical landscape of the modern world.In this, his most accessible work to date, he offers sharp and even shockingly clear presentations of oft-misunderstood Buddhist staples-the working of karma, the nature of self, the causes of trouble on both the individual and societal levels-and the real reasons behind our collective sense of "never enough," whether it's time, money, sex, security... even war.Loy's "Buddhist Revolution" is nothing less than a radical change in the ways we can approach our lives, our planet, the collective delusions that pervade our language, culture, and even our spirituality.