With Storytelling and the Science of Mind, David Herman proposes a cross-fertilization between the study of narrative and research on intelligent behavior. This cross-fertilization goes beyond the simple importing of ideas from the sciences of mind into scholarship on narrative and instead aims for convergence between work in narrative studies and research in the cognitive sciences. The book as a whole centers on two questions: How do people make sense of stories? And: How do people use stories to make sense of the world?
Told by six women in one family, Veronica Gonzalez Pena’s The Sad Passions captures the alertness, beauty, and terror of childhood lived in proximity to madness. Set against the backdrop of a colonial past, spanning three generations, and shuttling from Mexico City to Oaxaca to the North Fork of Long Island to Veracruz, The Sad Passions is the lyrical story of a middle-class Mexican family torn apart by the undiagnosed mental illness of Claudia, a lost child of the 1960s and the mother of four little girls.
David Fox (Ph.D. Economics, Columbia, Visiting Assistant Professor at Kester College, Knittersville, New York) is having a stressful year. He has a temporary position at a small college in a small town miles from everything except Albany. His students have never read Freakonomics. He thinks he is getting the hang of teaching, but a smart and beautiful young woman in his Economics of Social Issues class is distractingly flirtatious. His research is stagnant, to put it kindly. His search for a tenure-track job looms dauntingly.
Since the middle of the eighteenth century, political thinkers of all kinds–radical and reactionary, professional and amateur–have been complaining about “bureaucracy.” But what, exactly, are they complaining about?
I am beginning to realize that taking the self out of our essays is a form of repression. 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 Heroines
Imagine the astonishment felt by neuroscientist Rodrigo Quian Quiroga when he found a fantastically precise interpretation of his research findings in a story written by the great Argentinian fabulist Jorge Luis Borges fifty years earlier. Quian Quiroga studies the workings of the brain—in particular how memory works—one of the most complex and elusive mysteries of science. He and his fellow neuroscientists have at their disposal sophisticated imaging equipment and access to information not available just twenty years ago.
What if Jacques Lacan--the brilliant and eccentric Parisian psychoanalyst--had worked as a police detective, applying his theories to solve crimes? This may conjure up a mental film clip starring Peter Sellers in a trench coat, but in Lacan at the Scene, Henry Bond makes a serious and provocative claim: that apparently impenetrable events of violent death can be more effectively unraveled with Lacan’s theory of psychoanalysis than with elaborate, technologically advanced forensic tools. Bond’s exposition on murder expands and develops a resolutely Žižekian approach.
“In his journal, Paul liked to make lists: What he ordered from Commissary (shaving cream, toothpaste, deodorant, the transistor radio he had for a week before the guards took it away). The books he picked off the cart (The Bible, Dean Koontz, Stephen King, Codependent No More.) What phone calls he made and received; also, Bible Study certificates, letters and cards, his workout routines and his moods (Anxious, Nervous, Trusting in God, but mostly Depressed).
I had to rediscover who I was. And that’s why I left the apartment. . . . And there I was, right in the heart of the Arab world, a world that never tired of making the same mistakes over and over. . . . I had no more leniency when it came to the Arab world. . . None for the Arabs and none for myself. I suddenly saw things with merciless lucidity. . . . --An Arab Melancholia
In ThermoPoetics, Barri Gold sets out to show us how analogous, intertwined, and mutually productive poetry and physics may be. Charting the simultaneous emergence of the laws of thermodynamics in literature and in physics that began in the 1830s, Gold finds that not only can science influence literature, but literature can influence science, especially in the early stages of intellectual development. Nineteenth-century physics was often conducted in words. And, Gold claims, a poet could be a genius in thermodynamics and a novelist could be a damn good engineer.