The scene opens with several small vessels drifting about on the ocean. There had been a fire, followed by an explosion aboard a vessel carrying slaves. Most of the crew were pretty nasty people, but there were two pairs of people who become the heroes of this story. One of these is Ben Brace and a sixteen year old boy seaman, whom he had rescued from being eaten by the thirty or so crew members who had found enough spars, timber, sails, ropes and barrels to construct a large raft, though rather badly made, because these men were consoling themselves with a rum-barrel. At a distance floated the ship's gig, with the captain, the mate, the carpenter and three other men. Finally, there is a construction, hardly more than a large barrel, containing Snowball, an African ship's cook of the Coromantee tribe, together with a little girl of eight or ten. Luckily these get together with Ben Brace and the boy William, and it is their adventures that the story is mainly about. The author is a natural historian, and he tells us lots of interesting things about the fish and other denizens of the deep. Naturally the whole thing comes right in the end, with the wicked perishing, and the good being picked up by a whale-ship.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    An Australian millionaire says Millennials could all afford homes if we'd just give up avocado toast. Thanks, millionaire. This Millennial is here to prove them all wrong.Millennials have been stereotyped as lazy, entitled, narcissistic, and immature. We've gotten so used to sloppy generational analysis filled with dumb clichés about young people that we've lost sight of what really unites Millennials. Namely:-We are the most educated and hard-working generation in American history.-We poured historic and insane amounts of time and money into preparing ourselves for the 21st century labor market.- We have been taught to consider working for free (homework, internships) a privilege for our own benefit.- We are poorer, more medicated, and more precariously employed than our parents, grandparents, even our great grandparents, with less of a social safety net to boot. Kids These Days, is about why. In brilliant, crackling prose, early Wall Street occupier Malcolm Harris gets mercilessly real about our maligned birth cohort. Examining trends like runaway student debt, the rise of the intern, mass incarceration, social media, and more, Harris gives us a portrait of what it means to be young in America today that will wake you up and piss you off. Millennials were the first generation raised explicitly as investments, Harris argues, and in Kids These Days he dares us to confront and take charge of the consequences now that we are grown up.

    With this book, the author adds to the debate revolving around the 'anthropic principle' by developing the 'world principle.' The author offers the reader an original critique of materialist philosophy, ancient Greek philosophy, and in particular of Kant and Hawking, making this book highly informative and thought-provoking. The reader not only finds answers to questions about the meaning of our existence, but also gains new insights into science, philosophy and theology.

    In her groundbreaking book, New York magazine writer Ariel Levy argues that, if male chauvinist pigs of years past thought of women as pieces of meat, Female Chauvinist Pigs of today are doing them one better, making sex objects of other women – and of themselves. Irresistibly witty and wickedly intelligent, Female Chauvinist Pigs makes the case that the rise of raunch does not represent how far women have come; it only proves how far they have left to go.

    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.

    Zen rock gardens, monastery rose gardens, even your grandmother's vegetable garden all have been described as places of refuge and reflection. Drawing on her experience working at Seattle's premier gardening center, Zen teacher Geri Larkin shows how the act of gardening can help you uncover your inner creativity, enthusiasm, vigilance, and joy. As your garden grows, so will your spirit.Larkin takes you through the steps of planning, planting, nurturing, and maintaining a garden while offering funny stories and inspiring lessons on what plants can teach us about our lives. As soothing as a bowl of homemade vegetable soup, Plant Seed, Pull Weed will entertain, charm, and inspire you to get your hands dirty and dig deep to cultivate your inner self.

    Psychology is the only branch of learning in which I am particularly versed. To the psychologist the religious propensities of man must be at least as interesting as any other of the facts pertaining to his mental constitution. It would seem, therefore, as a psychologist, the natural thing for me would be to invite you to a descriptive survey of those religious propensities." When William James went to the University of Edinburgh in 1901 to deliver a series of lectures on "natural religion," he defined religion as "the feelings, acts, and experiences of individual men in their solitude, so far as they apprehend themselves to stand in relation to whatever they may consider the divine." Considering religion, then, not as it is defined by--or takes place in--the churches, but as it is felt in everyday life, he undertook a project that, upon completion, stands not only as one of the most important texts on psychology ever written, not only as a vitally serious contemplation of spirituality, but for many critics one of the best works of nonfiction written in the 20th century. Reading The Varieties of Religious Experience, it is easy to see why. Applying his analytic clarity to religious accounts from a variety of sources, James elaborates a pluralistic framework in which "the divine can mean no single quality, it must mean a group of qualities, by being champions of which in alternation, different men may all find worthy missions." It's an intellectual call for serious religious tolerance--indeed, respect--the vitality of which has not diminished through the subsequent decades.

    . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more.Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression.

    Chaput, the Archbishop of Philadelphia, offers a powerful manifesto on the need for Americans to protect religious freedom. As he notes, principles that Americans find self-evident—the dignity of the human person, the sanctity of conscience, the separation of political and sacred authority, the distinction between secular and religious law, the idea of a civil society pre-existing and distinct from the state—are not widely shared elsewhere in the world, and in recent years seem to be in jeopardy on our own shores. Archbishop Chaput offers a call to action for leadership both here and abroad to challenge this damaging trend. By thoughtfully interpreting and applying Catholic values to this confusing moment in history, he provides hope for an American audience hungry for courage and counsel. (from amazon.com)

    PRESENTED BY KNOWLEDGE PRODUCTS AND NARRATED BY CHARLTON HESTON. A 2-AUDIOTAPE CASSETTE AUDIOBOOK. APPROX. 3 HOURS TIME.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    Joel M. Hoffman walks the reader through dozens of mistranslations, misconceptions, and other misunderstandings about the Bible. In forty short, straightforward chapters, he covers morality, life-style, theology, and biblical imagery, including:*The Bible doesn't call homosexuality a sin, and it doesn't advocate for the one-man-one-woman model of the family that has been dubbed "biblical."*The Bible's famous "beat their swords into plowshares" is matched by the militaristic, "beat your plowshares into swords."*The often-cited New Testament quotation "God so loved the world" is a mistranslation, as are the titles "Son of Man" and "Son of God."*The Ten Commandments don't prohibit killing or coveting.What does the Bible say about violence? About the Rapture? About keeping kosher? About marriage and divorce? Hoffman provides answers to all of these and more, succinctly explaining how so many pivotal biblical answers came to be misunderstood.

    Art has been replaced by postart, a term invented by Alan Kaprow, as a new visual category that elevates the banal over the enigmatic, the scatological over the sacred, cleverness over creativity. Tracing the demise of aesthetic experience to the works and theory of Marcel Duchamp and Barnett Newman, Kuspit argues that devaluation is inseparable from the entropic character of modern art, and that anti-aesthetic postmodern art is in its final state. In contrast to modern art, which expressed the universal human unconscious, postmodern art degenerates into an expression of narrow ideological interests. In reaction to the emptiness and stagnancy of postart, Kuspit signals the aesthetic and human future that lies with the old masters. The End of Art points the way to the future for the visual arts. Donald Kuspit is Professor of Art History at SUNY Stony Brook. A winner of the Frank Jewett Mather Award for Distinction in Art Criticism, Professor Kuspit is a Contributing Editor at Artforum, Sculpture and New Art Examiner. His most recent book is The Cult of the Avant-Garde (Cambridge, 1994).

    "Let us adopt a naive attitude towards it," he proposed, "as though we were hearing it for the first time; we shall be unable then to suppress a feeling of surprise and bewilderment." After the horrors of World War II, the Holocaust, Stalinism, and Yugoslavia, Leviticus 19:18 seems even less conceivable—but all the more urgent now—than Freud imagined.In The Neighbor, three of the most significant intellectuals working in psychoanalysis and critical theory collaborate to show how this problem of neighbor-love opens questions that are fundamental to ethical inquiry and that suggest a new theological configuration of political theory. Their three extended essays explore today's central historical problem: the persistence of the theological in the political. In "Towards a Political Theology of the Neighbor," Kenneth Reinhard supplements Carl Schmitt's political theology of the enemy and friend with a political theology of the neighbor based in psychoanalysis. In "Miracles Happen," Eric L. Santner extends the book's exploration of neighbor-love through a bracing reassessment of Benjamin and Rosenzweig. And in an impassioned plea for ethical violence, Slavoj Žižek's "Neighbors and Other Monsters" reconsiders the idea of excess to rehabilitate a positive sense of the inhuman and challenge the influence of Levinas on contemporary ethical thought.A rich and suggestive account of the interplay between love and hate, self and other, personal and political, The Neighbor will prove to be a touchstone across the humanities and a crucial text for understanding the persistence of political theology in secular modernity.