With its earliest invention, the mirror allowed us to gaze upon ourselves, bestowing a power both fascinating and terrifying.

    America was founded by wishful dreamers, magical thinkers, and true believers, by hucksters and their suckers. Fantasy is deeply embedded in our DNA.Over the course of five centuries--from the Salem witch trials to Scientology to the Satanic Panic of the 1980s, from P. T. Barnum to Hollywood and the anything-goes, wild-and-crazy sixties, from conspiracy theories to our fetish for guns and obsession with extraterrestrials--our love of the fantastic has made America exceptional in a way that we've never fully acknowledged. From the start, our ultra-individualism was attached to epic dreams and epic fantasies--every citizen was free to believe absolutely anything, or to pretend to be absolutely anybody. With the gleeful erudition and tell-it-like-it-is ferocity of a Christopher Hitchens, Andersen explores whether the great American experiment in liberty has gone off the rails.

    Human tastes in the arts, Dutton argues, are evolutionary traits, shaped by Darwinian selection. They are not, as the past century of art criticism and academic theory would have it, just "socially constructed."Our love of beauty is inborn, and many aesthetic tastes are shared across remote cultures—just one example is the widespread preference for landscapes with water and distant trees, like the savannas where we evolved. Using forceful logic and hard evidence, Dutton shows that we must premise art criticism on an understanding of evolution, not on abstract "theory." He restores the place of beauty, pleasure, and skill as artistic values.Sure to provoke discussion in scientific circles and uproar in the art world, The Art Instinct offers radical new insights into both the nature of art and the workings of the human mind.

    In Cute, Quaint, Hungry and Romantic, the writer whom Steven Millhauser called "the most original essayist since George Orwell" examines with devastating wit and in a style distinctly his own the contagious appeal of that which is not art, the uses of the useless, the politics of product design and advertising. Here is a psychic voyage into the aesthetic unconscious of the consumer, as well as "the perfect companion for any foray through Restoration Hardware or the freezer compartment at Dean & DeLuca" (Village Voice Literary Supplement). From teddy bears to Mars Bars to Leonardo DiCaprio, this is the refuse of consumerism unflinchingly—and very entertainingly—observed.

     For several years, Andrew Marantz, a New Yorker staff writer, has been embedded in two worlds. The first is the world of social-media entrepreneurs, who, acting out of naïvete and reckless ambition, upended all traditional means of receiving and transmitting information. The second is the world of the people he calls "the gate crashers"—the conspiracists, white supremacists, and nihilist trolls who have become experts at using social media to advance their corrosive agenda. Antisocial ranges broadly—from the first mass-printed books to the trending hashtags of the present; from secret gatherings of neo-Fascists to the White House press briefing room—and traces how the unthinkable becomes thinkable, and then how it becomes reality. Combining the keen narrative detail of Bill Buford's Among the Thugs and the sweep of George Packer's The Unwinding, Antisocial reveals how the boundaries between technology, media, and politics have been erased, resulting in a deeply broken informational landscape—the landscape in which we all now live. Marantz shows how alienated young people are led down the rabbit hole of online radicalization, and how fringe ideas spread—from anonymous corners of social media to cable TV to the President's Twitter feed. Marantz also sits with the creators of social media as they start to reckon with the forces they've unleashed. Will they be able to solve the communication crisis they helped bring about, or are their interventions too little too late?

    -- Newsweek

    But the same things that have made it so have also made a good marriage more fulfilling than ever before. In this enlightening and hugely entertaining book, historian and marriage expert Stephanie Coontz takes readers from the marital intrigues of ancient Babylon to the sexual torments of Victorian couples to demonstrate how recent the idea of marrying for love is-and how absurd it would have seemed to most of our ancestors. It was only 200 years ago that marriage began to be about love and emotional commitment, and since then the very things that have strengthened marriage as a personal relationship have steadily weakened it as a social institution. Marriage, A History brings intelligence, wit, and some badly needed perspective to today's marital debates and dilemmas.

    The Geek Feminist Revolution also features several entirely new essays written specifically for this volume.Unapologetically outspoken, Hurley has contributed essays to The Atlantic, Locus, Tor.com, and elsewhere on the rise of women in genre, her passion for science fiction and fantasy, and the diversification of publishing.

    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

    He's covered extreme metal, extreme nostalgia, disposable art, disposable heroes, life on the road, life through the television, urban uncertainty and small-town weirdness. Through a variety of mediums and with a multitude of motives, he's written about everything he can think of (and a lot that he's forgotten). The world keeps accelerating, but the pop ideas keep coming.In Eating the Dinosaur, Klosterman is more entertaining and incisive than ever. Whether he's dissecting the boredom of voyeurism, the reason why music fans inevitably hate their favorite band's latest album, or why we love watching can't-miss superstars fail spectacularly, Klosterman remains obsessed with the relationship between expectation, reality, and living history. It's amateur anthropology for the present tense, and sometimes it's incredibly funny.

    These culminated in What is Art?, published in 1898. Although Tolstoy perceived the question of art to be a religious one, he considered & rejected the idea that art reveals & reinvents through beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire & even his own novels are condemned in the course of Tolstoy's impassioned & iconoclastic redefinition of art as a force for good, for the improvement of humankind.

    Men grow up being told that boys don’t cry and dolls are for girls. They learn they must hide their feelings and anxieties, that their masculinity must constantly be proven. They must be the breadwinners. They must be the romantic pursuers. This hasn’t been good for the culture at large: 99% of school shooters are male; men in fraternities are 300% more likely to rape; a woman serving in uniform has a higher likelihood of being assaulted by a fellow soldier than to be killed by enemy fire.In For the Love of Men, author Liz Plank offers a smart, insightful, and deeply researched guide for what we're all going to do about toxic masculinity. For both women looking to guide the men in their lives and men who want to do better and just don’t know how, For the Love of Men will lead the conversation on men's issues in a society where so much is changing but gender roles have remained strangely stagnant.What are we going to do about men? Plank has the answer--and it has the possibility to change the world for men and women alike.

    This is apparent in the many attempts to purge colour from art, literature and architecture, either by making it the property of some "foreign" body - the oriental, the feminine, the infantile the vulgar or the pathological - or by relegating it to the realm of the superficial, the inessential or the cosmetic, which in many cases amounts to the same thing. In Chromophobia, David Batchelor analyzes the history of, and motivations behind, chromophobia, from its beginnings through examples of nineteenth-century literature, twentieth-century architecture and film, to Pop art, minimalism and the art and architecture of the present day. Batchelor suggests how colour fits, or fails to fit, into the cultural imagination of the West, exploring such diverse themes as Melville's "great white whale," Le Corbusier's "journey to the East," Huxley's experiments with mescaline. Dorothy's travels in the Land of Oz and the implication of modern artists' experiments with industrial paints and materials.

    A century after its founding, the ACLU remains the nation’s premier defender of the rights and freedoms guaranteed by the Constitution. In collaboration with the ACLU, prize-winning authors Michael Chabon and Ayelet Waldman have curated an anthology of essays about landmark cases in the ACLU’s 100-year history. In Fight of the Century, bestselling and award-winning authors present unique literary takes on historic decisions like Brown v. Board of Education, the Scopes trial, Roe v. Wade, and more. Contributors include Geraldine Brooks, Michael Cunningham, Jennifer Egan, Dave Eggers, Louise Erdrich, Neil Gaiman, Lauren Groff, Marlon James, Viet Thanh Nguyen, Morgan Parker, Ann Patchett, Salman Rushdie, George Saunders, Elizabeth Strout, Jesmyn Ward, Meg Wolitzer, and more. Fight of the Century shows how throughout American history, pivotal legal battles, fought primarily by underdogs and their lawyers, have advanced civil rights and social justice. The ACLU has been integral in this process. The essays range from personal memoir to narrative history, each shedding light on the work of one remarkable organization as it shaped a country. Chabon and Waldman are donating their advance to the ACLU and the contributors are forgoing payment.

    Pieper shows that the Greeks understood and valued leisure, as did the medieval Europeans. He points out that religion can be born only in leisure - a leisure that allows time for the contemplation of the nature of God. Leisure has been, and always will be, the first foundation of any culture.He maintains that our bourgeois world of total labor has vanquished leisure, and issues a startling warning: Unless we regain the art of silence and insight, the ability for nonactivity, unless we substitute true leisure for our hectic amusements, we will destroy our culture - and ourselves.These astonishing essays contradict all our pragmatic and puritanical conceptions about labor and leisure; Josef Pieper demolishes the twentieth-century cult of "work" as he predicts its destructive consequences.