Shattering the myth of muses, higher powers, even creative “types,” Jonah Lehrer demonstrates that creativity is not a single gift possessed by the lucky few. It’s a variety of distinct thought processes that we can all learn to use more effectively.Lehrer reveals the importance of embracing the rut, thinking like a child, daydreaming productively, and adopting an outsider’s perspective (travel helps). He unveils the optimal mix of old and new partners in any creative collaboration, and explains why criticism is essential to the process. Then he zooms out to show how we can make our neighborhoods more vibrant, our companies more productive, and our schools more effective.You’ll learn about Bob Dylan’s writing habits and the drug addictions of poets. You’ll meet a Manhattan bartender who thinks like a chemist, and an autistic surfer who invented an entirely new surfing move. You’ll see why Elizabethan England experienced a creative explosion, and how Pixar’s office space is designed to spark the next big leap in animation.Collapsing the layers separating the neuron from the finished symphony, Imagine reveals the deep inventiveness of the human mind, and its essential role in our increasingly complex world. http://www.jonahlehrer.com/

     Stretching between these figures is a cast of artists, writers, and scientists--mostly women, mostly queer--whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures--Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Nathaniel Hawthorne, and Walt Whitman--and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.

    But more than this, there was gravity. After that, all hell broke loose… In A Universe from Nothing, Krauss revealed how our entire universe could arise from nothing. Now, he reveals what that something—reality—is. And, reality is not what we think or sense—it’s weird, wild, and counterintuitive; it’s hidden beneath everyday experience; and its inner workings seem even stranger than the idea that something can come from nothing. In a landmark, unprecedented work of scientific history, Krauss leads us to the furthest reaches of space and time, to scales so small they are invisible to microscopes, to the birth and rebirth of light, and into the natural forces that govern our existence. His unique blend of rigorous research and engaging storytelling invites us into the lives and minds of the remarkable, creative scientists who have helped to unravel the unexpected fabric of reality—with reason rather than superstition and dogma. Krauss has himself been an active participant in this effort, and he knows many of them well. The Greatest Story challenges us to re-envision ourselves and our place within the universe, as it appears that “God” does play dice with the universe. In the incisive style of his scintillating essays for The New Yorker, Krauss celebrates the greatest intellectual adventure ever undertaken—to understand why we are here in a universe where fact is stranger than fiction.

    I’m Tim. I’m a single cell in society’s body. U.S. society, to be specific.So let me explain why we’re here.As a writer and a generally thinky person, I’ve spent a lot of my life thinking about the society I live in, and societies in general. I’ve always imagined society as a kind of giant human—a living organism like each of us, only much bigger.When you’re a single cell in the body of a giant, it’s hard to understand what the giant’s doing, or why it is the way it is, because you can’t really zoom out and look at the whole thing all at once. But we do our best.The thing is, when I’ve recently tried to imagine what society might look like, I haven’t really been picturing this:Giant stick figure: "I am grown up."Based on what I see around me, in person and online, it seems like my society is actually more like this:Giant stick figure throwing a giant tantrum because their chocolate ice cream fell on the ground.Individual humans grow older as they age—but it kind of seems like the giant human I live in has been getting more childish each year that goes by.So I decided to write a blog post about this. But then something else happened.When I told people I was planning to write a post about society, and the way people are acting, and the way the media is acting, and the way the government is acting, and the way everyone else is acting, people kept saying the same thing to me.Don’t do it. Don’t touch it. Write about something else. Anything else. It’s just not worth it.They were right. With so many non-controversial topics to write about, why take on something so loaded and risk alienating a ton of readers? I listened to people’s warnings, and I thought about moving on to something else, but then I was like, “Wait what? I live inside a giant and the giant is having a six-year-old meltdown in the grocery store candy section and that’s a not-okay thing for me to talk about?”It hit me that what I really needed to write about was that—about why it’s perilous to write about society."

    He hadnt yet moved to the Los Angeles Lakers, with whom he would bring his total to an astounding nine NBA titles. In his thought-provoking memoir, he revealed how he directs his players to act with a clear mind--not thinking, just doing; to respect the enemy and be aggressive without anger or violence; to live in the moment and stay calmly focused in the midst of chaos; to put the "me" in service of the "we" -- all lessons applicable to any person's life, not just a professional basketball player's. This inspiring book went on to sell more than 400,000 copies. In his new introduction, Jackson explains how the concepts in Sacred Hoops are relevant to the issues facing his current team--and today's reader.

    In this collection of correspondence—letters to publishers, editors, friends, and fellow writers—the writer shares his insights on the art of creation.On Writing reveals an artist brutally frank about the drudgery of work and canny and uncompromising about the absurdities of life—and of art. It illuminates the hard-edged, complex humanity of a true American legend and counterculture icon—the “laureate of American lowlife” (Time)—who stoically recorded society’s downtrodden and depraved. It exposes an artist grounded in the visceral, whose work reverberates with his central ideal: “Don't try.”Piercing, poignant, and often hilarious, On Writing is filled not only with memorable lines but also with Bukowski’s trademark toughness, leavened with moments of grace, pathos, and intimacy.

    He was one of the leading pioneers of the greatest revolution in twentieth-century science: quantum mechanics. The youngest theoretician ever to win the Nobel Prize for Physics, he was also pathologically reticent, strangely literal-minded and legendarily unable to communicate or empathize. Through his greatest period of productivity, his postcards home contained only remarks about the weather.Based on a previously undiscovered archive of family papers, Graham Farmelo celebrates Dirac's massive scientific achievement while drawing a compassionate portrait of his life and work. Farmelo shows a man who, while hopelessly socially inept, could manage to love and sustain close friendship.The Strangest Man is an extraordinary and moving human story, as well as a study of one of the most exciting times in scientific history.'A wonderful book . . . Moving, sometimes comic, sometimes infinitely sad, and goes to the roots of what we mean by truth in science.' Lord Waldegrave, Daily Telegraph

    The book has an exclusive interview and photographs of Ariel Castro's secret fiancé, who spent many romantic nights in his house of horror, without realizing he had bound and chained captives just a few feet away. There are also revealing interviews with several Castro family members, musician friends and several neighbors who witnessed the dramatic rescue.

    But evil, Dr. Julia Shaw argues, is all relative, rooted in our unique cultures. What one may consider normal, like sex before marriage, eating meat, or being a banker, others find abhorrent. And if evil is only in the eye of the beholder, can it be said to exist at all? In Evil, Shaw uses case studies from academia, examples from and popular culture, and anecdotes from everyday life to break down complex information and concepts like the neuroscience of evil, the psychology of bloodlust, and workplace misbehavior. This is a wide-ranging exploration into a fascinating, darkly compelling subject.

    Douglas. It is an account of the way Douglas and other men found a richer life in the mountains and how they found something else besides.In such country Douglas has noted, "Men can find deep solitude and under conditions of grandeur that are startling, he can come to know both himself and God."The men of the story are such legendary characters as Roy Schaeffer and Jack Nelson, and the sheepherders, Indians, fisherman, and foresters who have learned to survive in the wilderness and enjoy it.

    Hocking was one of the last true giants of American philosophy and a direct intellectual descendent of William James, the father of American philosophy and psychology, with whom Kaag feels a deep kinship. It is James’s question “Is life worth living?” that guides this remarkable book.The books Kaag discovers in the Hocking library are crawling with insects and full of mold. But he resolves to restore them, as he immediately recognizes their importance. Not only does the library at West Wind contain handwritten notes from Whitman and inscriptions from Frost, but there are startlingly rare first editions of Hobbes, Descartes, and Kant. As Kaag begins to catalog and read through these priceless volumes, he embarks on a thrilling journey that leads him to the life-affirming tenets of American philosophy—self-reliance, pragmatism, and transcendence—and to a brilliant young Kantian who joins him in the restoration of the Hocking books.Part intellectual history, part memoir, American Philosophy is ultimately about love, freedom, and the role that wisdom can play in turning one’s life around.

    If you're younger, it's unlikely you did any of these things. Has the world become that much more dangerous? Statistically, not at all. But our society has created pervasive fears around letting kids be independent and take risks -- and the consequences for our kids are serious. Gever Tulley takes on these media-inflated fears -- which he calls "dangerism" -- with surprising statistics and insights into the nature of fear and risk.About the author: Gever Tulley is the co-founder of the Tinkering School, a weeklong camp where lucky kids get to play with their very own power tools.

    This volume is comprised of the years 1900 through 1959, and includes all of the best known cases of the period, as well as many more lesser-known murders, all presented in a compelling chronological narrative that takes the reader on a grisly journey through the blood-soaked avenues of early twentieth century crime. Featuring: The Peasenhall Murder. The Seal Chart Murder. The Atlanta Ripper. The Villisca Axe Murders. The Axeman of New Orleans. The Green Bicycle Case. Little Lord Fauntleroy. Hinterkaifeck Farm. The St. Aubin Street Massacre. The Wallace Case. The Atlas Vampire. The Brighton Trunk Crime. The Cleveland Torso Murderer. The Horror in Room 1046. Who Put Bella in the Wych Elm? The Pitchfork Murder. The Sodder Children. The Phantom Killer. The Black Dahlia. Somerton Man. The Grimes Sisters. The Boy in the Box. And Much More!

    To his contemporaries he was a minor disciple of Emerson; he has since joined the ranks of America's most respected and beloved writers. Few, however, really know the complexity of the man they revere — wanderer and scholar, naturalist and humorist, teacher and surveyor, abolitionist and poet, Transcendentalist and anthropologist, inventor and social critic, and, above all, individualist.In this widely acclaimed biography, outstanding Thoreau scholar Walter Harding presents all of these Thoreaus. Scholars will find here the culmination of a lifetime of research and study, meticulously documented; general readers will find an absorbing story of a remarkable man. Writing always with supreme clarity, Professor Harding has marshaled all the facts so as best to "let them speak for themselves." Thoreau's thoughtfulness and stubbornness, his more than ordinarily human amalgam of the earthy and the sublime, his unquenchable vitality emerge to the reader as they did to his own family, friends, and critics.You will see Thoreau's work in his family's pencil factory, his accidental setting of a forest fire, his love of children and hatred of hypocrisy, his contributions to the scientific understanding of forest trees, and other more and less familiar aspects of the man and his works. You will find the social as well as the reclusive Thoreau. Reactions to him by such notable contemporaries as Margaret Fuller, Nathaniel Hawthorne, and Walt Whitman — with Thoreau's responses to them — are given in rich detail.The totality is as complete, accurate, fair, vivid, and fully rounded a portrait as has ever been drawn. On its appearance, Professor Harding's work immediately established itself as "the standard biography" (Edward Wagenknecht). It has never been superseded. For this Dover edition, the author has corrected minor errors, provided an appendix bibliographically documenting hundreds of facts, and contributed an Afterword updating some of his findings and discussing Thoreau scholarship.

    Soon it was gone, only to be succeeded by another. And another. Strange, Karinthy thought, it had been years since Budapest had streetcars. Only then did he realize he was suffering from an auditory hallucination of extraordinary intensity. What in fact Karinthy was suffering from was a brain tumor, not cancerous but hardly benign, though it was only much later—after spells of giddiness, fainting fits, friends remarking that his handwriting had altered, and books going blank before his eyes—that he consulted a doctor and embarked on a series of examinations that would lead to brain surgery. Karinthy’s description of his descent into illness and his observations of his symptoms, thoughts, and feelings, as well as of his friends’ and doctors’ varied responses to his predicament, are exact and engrossing and entirely free of self-pity. A Journey Round My Skull is not only an extraordinary piece of medical testimony, but a powerful work of literature—one that dances brilliantly on the edge of extinction.