The architect Rem Koolhaas itemized in delirious detail how our cities are being overwhelmed. His celebrated jeremiad is updated here and twinned with Running Room, a fresh response from the cultural critic Hal Foster. Junkspace describes the bleak and featureless world of capitalism, while Running Room seeks to find a space within the junk in which the individual might still exist.

    But it doesn't have to be this way. In City Dharma, Arthur Jeon suggests that it’s not what happens to us, but how we react to events and thoughts that causes most of our suffering.City Dharma is the essential guide for everyone living in the accelerated world most of us call home. Offering smart, practical ways to overcome daily stresses and the crazy-making reactivity of our own minds, Jeon explores the most challenging aspects of modern urban and suburban life, including:Another Day, Another DollarAvoid Working StiffnessWalking Down a Dark AlleyAwareness and Violence Sex and the City DharmaSeeking Love vs. Expressing LoveScaring Ourselves to DeathTranscending Media NegativityRoad RageDealing with Mad Max Within and WithoutDrawing wisdom from the ancient Eastern teachings of Advaita Vedanta and filled with engaging stories, City Dharma offers a new way of seeing the world--one that is based on connection rather than separation, direct experience rather than belief, and love instead of fear.From the Hardcover edition.

    Winner, Washington Post Book World"I am tempted to say he understands [Consilience] better than Wilson himself…A new emancipation proclamation in which he speaks again and again about how to defy the tyranny of scientific materialism" ---Colin C. Campbell, Christian Science Monitor"Berry takes a wrecking ball to E. O. Wilson's Consilience, reducing its smug assumptions regarding the fusion of science, art, and religion to so much rubble. --Kirkus ReviewsIn Life Is a Miracle, the devotion of science to the quantitative and reductionist world is measured against the mysterious, qualitative suggestions of religion and art. Berry sees life as the collision of these separate forces, but without all three in the mix we are left at sea in the world.

    His range is wide, and his insights are acute, frequently ironic, and often downright funny. Translated by William Weaver. A Helen and Kurt Wolff Book

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    This easy, breezy handbook is full of insight that will help regular people begin a more inspiring and less stressful relationship with art. With tips on how to visit museums, how to talk about art at cocktail parties, and how to let art wake you up to the world around you, this little guide makes it possible for anyone to fall in love with art, whether for the first time or all over again.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    Peter Watson has produced a fluent and engaging narrative of the intellectual tradition of the twentieth century, and the men and women who created it.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    He studies Lynch's talent for blending the bizarre and the normal to emphasize the odd nature of normality itself. Hollywood is often criticized for distorting reality and providing escapist fantasies, but in Lynch's movies, fantasy becomes a means through which the viewer is encouraged to build a revolutionary relationship with the world.Considering the filmmaker's entire career, McGowan examines Lynch's play with fantasy and traces the political, cultural, and existential impact of his unique style. Each chapter discusses the idea of impossibility in one of Lynch's films, including the critically acclaimed Blue Velvet and The Elephant Man; the densely plotted Lost Highway and Mulholland Drive; the cult favorite Eraserhead; and the commercially unsuccessful Dune. McGowan engages with theorists from the "golden age" of film studies (Christian Metz, Laura Mulvey, and Jean-Louis Baudry) and with the thought of Sigmund Freud, Jacques Lacan, and Hegel. By using Lynch's weirdness as a point of departure, McGowan adds a new dimension to the field of auteur studies and reveals Lynch to be the source of a new and radical conception of fantasy.

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    A collection of essays, thoughts, and prayers from award-winning artist Makoto Fujimura, Refractions brings people of all backgrounds together in conversation and meditation on culture, art, and humanity.

    In the first two chapters, the author offers general explanations of the nature of dreams and their use in analysis. She examines how dreams can be used in the development of self-knowledge and describes how C. G. Jung worked with his own dreams, and the fateful ways in which they were entwined with the course of his life.The rest of the book records and interprets dreams of historical personages: Socrates, Descartes, Themistocles and Hannibal, and the mothers of Saint Augustine, Saint Bernard of Clairvaux, and Saint Dominic. Connections are revealed between the personal and family histories of the dreamers and individual and collective mores of their times. Dreams includes writings long out of print or never-before-available in English translation.

    Above all, He Held Radical Light is a love letter to poetry, filled with moving, surprising, and sometimes funny encounters with the poets Wiman has known. Seamus Heaney opens a suddenly intimate conversation about faith; Mary Oliver puts half of a dead pigeon in her pocket; A. R. Ammons stands up in front of an audience and refuses to read. He Held Radical Light is as urgent and intense as it is lively and entertaining--a sharp sequel to Wiman's earlier memoir, My Bright Abyss.