From the #1 New York Times bestselling author of Reviving Ophelia, Another Country, and The Shelter of Each Other comes an inspirational book that shows how words can change the world. Words are the most powerful tools at our disposal. With them, writers have saved lives and taken them, brought justice and confounded it, started wars and ended them. Writers can change the way we think and transform our definitions of right and wrong. Writing to Change the World is a beautiful paean to the transformative power of words. Encapsulating Mary Pipher's years as a writer and therapist, it features rousing commentary, personal anecdotes, memorable quotations, and stories of writers who have helped reshape society. It is a book that will shake up readers' beliefs, expand their minds, and possibly even inspire them to make their own mark on the world.
Theodore Sider presents a broad new vision of metaphysics centred on the idea of structure. To describe the world well we must use concepts that 'carve at the joints', so that conceptual structure matches reality's structure. This approach illuminates a wide range of topics, such as time, modality, ontology, and the status of metaphysics itself.
What do the humanities have to offer in the twenty-first century? Are there compelling reasons to go on teaching the literate arts when the schools themselves have become battlefields? Does it make sense to go on writing when the world itself is overrun with books that no one reads? In these simultaneously personal and erudite reflections on the future of higher education, Richard E. Miller moves from the headlines to the classroom, focusing in on how teachers and students alike confront the existential challenge of making life meaningful. In meditating on the violent events that now dominate our daily lives—school shootings, suicide bombings, terrorist attacks, contemporary warfare—Miller prompts a reconsideration of the role that institutions of higher education play in shaping our daily experiences, and asks us to reimagine the humanities as centrally important to the maintenance of a compassionate, secular society. By concentrating on those moments when individuals and institutions meet and violence results, Writing at the End of the World provides the framework that students and teachers require to engage in the work of building a better future.
Metaphysics has shifted ground, moving away from necessity and possibility as the lens through which we look at things. Ted Sider shapes the agenda for the subject by exploring how this shift transforms the project of understanding the objects, properties, and quantities of the universe, and the relations between them, in terms of structures.
This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."
Why does our language divide up reality one way rather than another? On what rational basis does our language contain certain kinds of general words rather than others? Hirsch shows that a language can be constructed which describes reality in ways we would find absurdly irrational, for example by classifying normally disparate items under the same general term. The apparent irrationality of the new language does not depend on its impoverished fact-stating power, as this may be equivalent to the fact-stating power of ordinary language; the problem then is to explain exactly what is wrong with it. Various options are explored and criticized, such as the hypothesis that language must reflect an underlying objective distinction between 'natural' kinds; that there are pragmatic reasons for the way language functions as it does; and that, as a matter of 'metaphysical necessity, ' strange ways of dividing up reality are constructions out of ordinary ways. Having demonstrated that this newly identified problem is in fact a serious one which cannot be easily solved or brushed aside, Hirsch offers his own suggestions for a possible solution.
Ranging from cuneiform to shorthand, from archaic Greek to modern Chinese, from Old Persian to modern Cherokee, this is the only available work in English to cover all of the world's writing systems from ancient times to the present. Describing scores of scripts in use now or in the past around the world, this unusually comprehensive reference offers a detailed exploration of the history and typology of writing systems. More than eighty articles by scholars from over a dozen countries explain and document how a vast array of writing systems work--how alphabets, ideograms, pictographs, and hieroglyphics convey meaning in graphic form. The work is organized in thirteen parts, each dealing with a particular group of writing systems defined historically, geographically, or conceptually. Arranged according to the chronological development of writing systems and their historical relationships within geographical areas, the scripts are divided into the following sections: the ancient Near East, East Asia, Europe, South Asia, Southeast Asia, and the Middle East. Additional parts address the ongoing process of decipherment of ancient writing systems; the adaptation of traditional scripts to new languages; new scripts invented in modern times; and graphic symbols for numerical, music, and movement notation. Each part begins with an introductory article providing the social and cultural context in which the group of writing systems was developed. Articles on individual scripts detail the historical origin of the writing system, its structure (with tables showing the forms of the written symbols), and its relationship to the phonology of the corresponding spoken language. Each writing system is illustrated by a passage of text, and accompanied by a romanized version, a phonetic transcription, and a modern English translation. A bibliography suggesting further reading concludes each entry. Matched by no other work in English, The World's Writing Systems is the only comprehensive resource covering every major writing system. Unparalleled in its scope and unique in its coverage of the way scripts relate to the languages they represent, this is a resource that anyone with an interest in language will want to own, and one that should be a part of every library's reference collection.
"The story of literature in sixteen acts, from Alexander the Great and the Iliad to ebooks and Harry Potter, this engaging book brings together remarkable people and surprising events to show how writing shaped cultures, religions, and the history of the world"--
