Owen shares his new perspective on Wall Street and how the Code of the West can and should be applied to business practices and the corporate world. The book is beautifully illustrated with David Stoecklein's western photography

    The reality is far murkier.Hector Macdonald has spent much of his career exploring the ways that two completely true statements about the same thing can give wildly different impressions to the people listening. For instance, the Internet can be described as a tool to disseminate knowledge or a system that spreads misinformation and hatred. Both statements are true, but they would paint radically different pictures for a cyber-novice.Now, in Truth: A User's Guide, Macdonald explains how these so-called "competing truths" are used both constructively and misleadingly by businesses, media, politicians, advertisers, and even regular people having regular conversations. He shows how understanding competing truths makes us better at navigating the world and more influential within it. Combining great storytelling with practical takeaways and a litany of fascinating, funny, and insightful case studies, Truth is a sobering and engaging read about how profoundly our mindsets and actions are influenced by the truths that those around us choose to tell.

    The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing.As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the technology of poetry--its sounds--to create works of art that are performed in us when we read them aloud.He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Gl�ck, and Frank Bidart.This ideal introductory volume belongs in the library of every poet and student of poetry.

    With nuance and elegance, Bok explores notions of happiness—from Greek philosophers to Desmond Tutu, Charles Darwin, Iris Murdoch, and the Dalai Lama—as well as the latest theories advanced by psychologists, economists, geneticists, and neuroscientists. Eschewing abstract theorizing, Bok weaves in a wealth of firsthand observations about happiness from ordinary people as well as renowned figures. This may well be the most complete picture of happiness yet.This book is also a clarion call to think clearly and sensitively about happiness. Bringing together very different disciplines provides Bok with a unique opportunity to consider the role of happiness in wider questions of how we should lead our lives and treat one another—concerns that don’t often figure in today’s happiness equation. How should we pursue, weigh, value, or limit our own happiness, or that of others, now and in the future? Compelling and perceptive, Exploring Happiness shines a welcome new light on the heart of the human condition.

    As he considers the moral dimensions of climate change, he reasons clearly through what universal standards of goodness and justice require of us, both as citizens and as governments. His conclusions—some as demanding as they are logical—will challenge and enlighten. Eco-conscious readers may be surprised to hear they have a duty to offset all their carbon emissions, while policy makers will grapple with Broome’s analysis of what if anything is owed to future generations. From the science of greenhouse gases to the intricate logic of cap and trade, Broome reveals how the principles that underlie everyday decision making also provide simple and effective ideas for confronting climate change. Climate Matters is an essential contribution to one of the paramount issues of our time.(Taken from publisher's website.)

    Provocative and eye-opening, Why Our Decisions Don’t Matter is one of three slim selections of philosophical texts and excerpts—along with Why We Need Love and Why We Fight—introduced and contextualized by acclaimed author Simon Van Booy (Love Begins in Winter, The Secret Lives of People in Love).

    As people made in the image of God, we are entrusted to look after what he has created: to share in God’s joy and ingenuity in making a difference for good. Ruth Valerio imaginatively draws on the Days of Creation (Genesis 1) as she relates themes of light, water, land, the seasons, other creatures, humankind, Sabbath rest and resurrection hope to matters of environmental, ethical and social concern.Foundational to Saying Yes to Life is what it means to be human and, in particular, to be a follower of Jesus. Voices from around the world are heard throughout, and each chapter ends with discussion questions and a prayer to aid action and contemplation. e

    He brings to his treatment of these questions the same courage, scrupulous logic, and lofty wisdom for which his other work as philosopher, writer, and teacher has been famous. These qualities make the essays included in this book perhaps the most graceful and moving presentation of the freethinker's position since the days of Hume and Voltaire. "I am as firmly convinced that religions do harm as I am that they are untrue," Russell declares in his Preface, and his reasoned opposition to any system or dogma which he feels may shackle man's mind runs through all the essays in this book, whether they were written as early as 1899 or as late as 1954. The book has been edited, with Lord Russell's full approval and cooperation, by Professor Paul Edwards of the Philosophy Department of New York University. In an Appendix, Professor Edwards contributes a full account of the highly controversial "Bertrand Russell Case" of 1940, in which Russell was judicially declared "unfit" to teach philosophy at the College of the City of New York. Whether the reader shares or rejects Bertrand Russell's views, he will find this book an invigorating challenge to set notions, a masterly statement of a philosophical position, and a pure joy to read.Why I am not a Christian --Has religion made useful contributions to civilization? --What I believe --Do we survive death? --Seems, madam? Nay, it is --Free man's worship --On Catholic and Protestant skeptics --Life in the Middle Ages --Fate of Thomas Paine --Nice people --New generation --Our sexual ethics --Freedom and the colleges --Can religion cure our troubles? --Religion and morals --Appendix: How Bertrand Russell was prevented from teaching at the College of the City of New York

    How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster’s infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

    A humanist, a sceptic, an acute observer of himself and others, he reflects the great themes of existence through the prism of his own self-consciousness. Apparent in every line he wrote, his virtues of tolerance, moderation and disinterested inquiry amount to an undeclared manifesto for the Enlightenment, whose prophet he is. This complete edition of his works supplements the Essays with travel diaries and letters, thereby completing the portrait of a true Renaissance man.

    Beginning with a ruthless analysis of New Leftism and concluding with a critique of the key strands in its thinking, Roger Scruton conducts a reappraisal of such major left-wing thinkers as E. P. Thompson, Ronald Dworkin, R. D. Laing, Jurgen Habermas, Gyorgy Lukacs, Jean-Paul Sartre, Jacques Derrida, Slavoj Žižek, Ralph Milliband, and Eric Hobsbawm. In addition to assessments of these thinkers' philosophical and political contributions, the book contains a biographical and bibliographical section summarizing their careers and most important writings.In Fools, Frauds and Firebrands Scruton asks, What does the Left look like today, and how has it evolved? He charts the transfer of grievances, from the working class to women, gays, and immigrants, asks what we can put in the place of radical egalitarianism, and what explains the continued dominance of antinomian attitudes in the intellectual world. Can there be any foundation for resistance to the leftist agenda without religious faith?Writing with great clarity, Scruton delivers a devastating critique of modern left-wing thinking.

    Through storytelling and story analysis, using examples from fiction and film, this work shows how ethical theories are applied to real life. Reflecting the social and political climate, it covers topics like courage, terrorism, and just war.

    Thus, in an elegant anagram (translation = lost in an art), Pulitzer Prize-winning author and pioneering cognitive scientist Douglas Hofstadter hints at what led him to pen a deep personal homage to the witty sixteenth-century French poet Clément Marot.”Le ton beau de Marot” literally means ”The sweet tone of Marot”, but to a French ear it suggests ”Le tombeau de Marot”—that is, ”The tomb of Marot”. That double entendre foreshadows the linguistic exuberance of this book, which was sparked a decade ago when Hofstadter, under the spell of an exquisite French miniature by Marot, got hooked on the challenge of recreating both its sweet message and its tight rhymes in English—jumping through two tough hoops at once. In the next few years, he not only did many of his own translations of Marot's poem, but also enlisted friends, students, colleagues, family, noted poets, and translators—even three state-of-the-art translation programs!—to try their hand at this subtle challenge.The rich harvest is represented here by 88 wildly diverse variations on Marot's little theme. Yet this barely scratches the surface of Le Ton beau de Marot, for small groups of these poems alternate with chapters that run all over the map of language and thought.Not merely a set of translations of one poem, Le Ton beau de Marot is an autobiographical essay, a love letter to the French language, a series of musings on life, loss, and death, a sweet bouquet of stirring poetry—but most of all, it celebrates the limitless creativity fired by a passion for the music of words.Dozens of literary themes and creations are woven into the picture, including Pushkin's Eugene Onegin , Dante's Inferno, Salinger's Catcher in the Rye , Villon's Ballades, Nabokov’s essays, Georges Perec's La Disparition, Vikram Seth's The Golden Gate, Horace's odes, and more.Rife with stunning form-content interplay, crammed with creative linguistic experiments yet always crystal-clear, this book is meant not only for lovers of literature, but also for people who wish to be brought into contact with current ideas about how creativity works, and who wish to see how today’s computational models of language and thought stack up next to the human mind.Le Ton beau de Marot is a sparkling, personal, and poetic exploration aimed at both the literary and the scientific world, and is sure to provoke great excitement and heated controversy among poets and translators, critics and writers, and those involved in the study of creativity and its elusive wellsprings.

    But Plato’s role in shaping philosophy was pivotal. On her way to considering the place of philosophy in our ongoing intellectual life, Goldstein tells a new story of its origin, re-envisioning the extraordinary culture that produced the man who produced philosophy. But it is primarily the fate of philosophy that concerns her. Is the discipline no more than a way of biding our time until the scientists arrive on the scene? Have they already arrived? Does philosophy itself ever make progress? And if it does, why is so ancient a figure as Plato of any continuing relevance? Plato at the Googleplex is Goldstein’s startling investigation of these conundra. She interweaves her narrative with Plato’s own choice for bringing ideas to life—the dialogue. Imagine that Plato came to life in the twenty-first century and embarked on a multicity speaking tour. How would he handle the host of a cable news program who denies there can be morality without religion?  How would he mediate a debate between a Freudian psychoanalyst and a tiger mom on how to raise the perfect child? How would he answer a neuroscientist who, about to scan Plato’s brain, argues that science has definitively answered the questions of free will and moral agency? What would Plato make of Google, and of the idea that knowledge can be crowd-sourced rather than reasoned out by experts? With a philosopher’s depth and a novelist’s imagination and wit, Goldstein probes the deepest issues confronting us by allowing us to eavesdrop on Plato as he takes on the modern world.(With black-and-white photographs throughout.)

    Slavoj Žižek has identified the four horsemen of this coming apocalypse: the worldwide ecological crisis; imbalances within the economic system; the biogenetic revolution; and exploding social divisions and ruptures. But, he asks, if the end of capitalism seems to many like the end of the world, how is it possible for Western society to face up to the end times? In a major new analysis of our global situation, Slavok Žižek argues that our collective responses to economic Armageddon correspond to the stages of grief: ideological denial, explosions of anger and attempts at bargaining, followed by depression and withdrawal. After passing through this zero-point, we can begin to perceive the crisis as a chance for a new beginning. Or, as Mao Zedong put it, “There is great disorder under heaven, the situation is excellent.” Slavoj Žižek shows the cultural and political forms of these stages of ideological avoidance and political protest, from New Age obscurantism to violent religious fundamentalism. Concluding with a compelling argument for the return of a Marxian critique of political economy, Žižek also divines the wellsprings of a potentially communist culture—from literary utopias like Kafka’s community of mice to the collective of freak outcasts in the TV series Heroes.