Do we want four-year-olds to watch slasher films? If not, who should decide? "Mayhem" lays out the ferocious arguments and the evidence on each side, as Bok reveals surprisingly ancient roots of the debate, from Roman critics of the gladiatorial games to restrictions on today's Internet.
Who were Shakespeare's 'Friend' and the 'Dark Lady'? Why did Donne risk his life and ruin his career for a seventeen-year-old girl? Why did Wordsworth's sister retire to her bed on his wedding day? Writing never takes place in a vacuum and much of the finest poetry in the English language has been inspired by particular people - patrons, spouses, lovers, friends, or just casual acquaintances. Whether relegated to an obscurity they do not deserve or thrust into prominence they did not seek, their importance to the creative process is inescapable. In Where All the Ladders Start, Julian Lovelock discusses with characteristic incisiveness and enthusiasm nine major British poets and the real lives behind some of their most personal and significant works. Along the way he shows how poetry has developed over the past four hundred years and provides suggestions for further reading, while for convenience all of the relevant poems and extracts are reproduced in full. Written for both the seasoned reader and the student encountering these poems for the first time, Lovelock's analysis will inspire and entertain in equal measure.
The use of school life as a closed narrative environment is well documented, and modern examples such as Malory Towers and Harry Potter show the genre's continued appeal. While there have been several histories of the school story, especially in children's literature, almost all of them take as their starting point Tom Brown's Schooldays. Although occasionally acknowledged in passing, there has never been a complete study of earlier school stories, or of other fictional portrayals of school life before the middle of the eighteenth century. In Before Tom Brown, Robert Kirkpatrick traces the roots of the school story back to 2500BC, when school life was a feature of Sumerian, Egyptian and Graeco-Roman texts written as teaching aids for children. From Chaucer's Canterbury Tales to Shakesperean comedies, he explores for the first time the use of school dialogues in the classroom, in print and on stage, and presents new evidence that the first school novel appeared in 1607. Finally, he examines the role of the school story in the broader development of the novel as the genre became established through the eighteenth century. Readers will be rewarded with a whole new perspective on the history of children's literature.
A searingly powerful memoir about the impact of addiction on a family. In the summer of 2012 a woman named Eva was found dead in the London townhouse she shared with her husband, Hans K. Rausing. The couple had struggled with drug addiction for years, often under the glare of tabloid headlines. Now, writing with singular clarity and restraint, Hans’ sister, the editor and publisher Sigrid Rausing, tries to make sense of what happened. In Mayhem, she asks the difficult questions those close to the world of addiction must face. “Who can help the addict, consumed by a shaming hunger, a need beyond control? There is no medicine: the drugs are the medicine. And who can help their families, so implicated in the self-destruction of the addict? Who can help when the very notion of ‘help’ becomes synonymous with an exercise of power; a familial police state; an end to freedom, in the addict’s mind?” An eloquent and timely attempt to understand the conundrum of addiction—and a memoir as devastating as it is riveting.
The Lost Boys meets Wilder Girls in this supernatural feminist YA novel. It's 1987 and unfortunately it's not all Madonna and cherry lip balm. Mayhem Brayburn has always known there was something off about her and her mother, Roxy. Maybe it has to do with Roxy's constant physical pain, or maybe with Mayhem's own irresistible pull to water. Either way, she knows they aren't like everyone else. But when May's stepfather finally goes too far, Roxy and Mayhem flee to Santa Maria, California, the coastal beach town that holds the answers to all of Mayhem's questions about who her mother is, her estranged family, and the mysteries of her own self. There she meets the kids who live with her aunt, and it opens the door to the magic that runs through the female lineage in her family, the very magic Mayhem is next in line to inherit and which will change her life for good. But when she gets wrapped up in the search for the man who has been kidnapping girls from the beach, her life takes another dangerous turn and she is forced to face the price of vigilante justice and to ask herself whether revenge is worth the cost. From the acclaimed author of This Raging Light and But Then I Came Back, Estelle Laure offers a riveting and complex story with magical elements about a family of women contending with what appears to be an irreversible destiny, taking control and saying when enough is enough.
The most damning criticism of markets is that they are morally corrupting. As we increasingly engage in market activity, the more likely we are to become selfish, corrupt, rapacious and debased. Even Adam Smith, who famously celebrated markets, believed that there were moral costs associated with life in market societies. This book explores whether or not engaging in market activities is morally corrupting. Storr and Choi demonstrate that people in market societies are wealthier, healthier, happier and better connected than those in societies where markets are more restricted. More provocatively, they explain that successful markets require and produce virtuous participants. Markets serve as moral spaces that both rely on and reward their participants for being virtuous. Rather than harming individuals morally, the market is an arena where individuals are encouraged to be their best moral selves. Do Markets Corrupt Our Morals? invites us to reassess the claim that markets corrupt our morals.
NEW YORK TIMES BESTSELLER • The #1 bestselling author of The Anxious Generation and acclaimed social psychologist challenges conventional thinking about morality, politics, and religion in a way that speaks to conservatives and liberals alike—a “landmark contribution to humanity’s understanding of itself” (The New York Times Book Review). Drawing on his twenty-five years of groundbreaking research on moral psychology, Jonathan Haidt shows how moral judgments arise not from reason but from gut feelings. He shows why liberals, conservatives, and libertarians have such different intuitions about right and wrong, and he shows why each side is actually right about many of its central concerns. In this subtle yet accessible book, Haidt gives you the key to understanding the miracle of human cooperation, as well as the curse of our eternal divisions and conflicts. If you’re ready to trade in anger for understanding, read The Righteous Mind.
Both detective and reader attempt to solve the crimes in detective novels, relying on the same motifs but employing different narrative interpretations to do so. A unique and lucid examination of a complex genre.
Much philosophical work on pop culture apologises for its use; using popular culture is a necessary evil, something merely useful for reaching the masses with important philosophical arguments. But works of pop culture are important in their own right--they shape worldviews, inspire ideas, change minds. We wouldn't baulk at a book dedicated to examining the philosophy of The Great Gatsby or 1984--why aren't Star Trek and Superman fair game as well? After all, when produced, the former were considered pop culture just as much as the latter. This will be the first major reference work to right that wrong, gathering together entries on film, television, games, graphic novels and comedy, and officially recognizing the importance of the field. It will be the go-to resource for students and researchers in philosophy, culture, media and communications, English and history and will act as a springboard to introduce the reader to the other key literature in the field.
Barbara Herman argues for a radical shift in the way we perceive Kant's ethics. She convincingly reinterprets the key texts, at once allowing Kant to mean what he says while showing that what Kant says makes good moral sense. She urges us to abandon the tradition that describes Kantian ethics as a deontology, a moral system of rules of duty. She finds the central idea of Kantian ethics not in duty but in practical rationality as a norm of unconditioned goodness. This book both clarifies Kant's own theory and adds programmatic vitality to modern moral philosophy.