Summer of Discovery

Wilson, Eric G.

HarperCollins Publishers Canada, Limited

A guidebook for beating the monotony of the everyday by purposefully cultivating the surprising joys that come from living an off-kilter life\nIt's all too easy to get caught up in the often monotonous nature of our day to day--moving from one rote task to the next, only to rinse and repeat the next day. Weirdness, however, is an easily accessible antidote to these feelings of languishing. The quirky, eccentric, and peculiar can take us out of our normal habits of thought and perception, surprising us by breaking up our routines and reminding us that there's more to life than the everyday.\nIn How to Be Weird, Eric G. Wilson offers 99 fun and philosophically rich exercises for embracing all the weird in the world around us--taking aimless walks, creating a reverie nook, exploring the underside of bridges, making tombstone rubbings, finding your own Narnia, and more.\nWith brief digestible entries on how to make sense of the random, guidelines on how to defamiliarize familiar objects through meditation, and exercises for locating weird states and phenomena for ourselves, How to Be Weird is an invitation to lean into the weird and to live a fuller life.

How to Be Weird: An Off-Kilter Guide to Living a One-of-a-Kind Life

Reference

Penguin??Books

An in-depth look into the life of Romantic essayist Charles Lamb and the legacy of his work A pioneer of urban Romanticism, essayist Charles Lamb (1775-1834) found inspiration in London's markets, theaters, prostitutes, and bookshops. He prized the city's literary scene, too, where he was a star wit. He counted among his admirers Mary Shelley, William Wordsworth, and Samuel Taylor Coleridge. His friends valued in his conversation what distinguished his writing style: a highly original blend of irony, whimsy, and melancholy. &nbsp; Eric G. Wilson captures Lamb's strange charm in this meticulously researched and engagingly written biography. He demonstrates how Lamb's humor helped him cope with a life&#8209;defining tragedy: in a fit of madness, his sister Mary murdered their mother. Arranging to care for her himself, Lamb saved her from the gallows. Delightful when sane, Mary became Charles's muse, and she collaborated with him on children's books. In exploring Mary's presence in Charles's darkly comical essays, Wilson also shows how Lamb reverberates in today's experimental literature.

Dream-Child: A Life of Charles Lamb

Biographies & Memoirs

Arts & Literature

Yale University Press

At the turn of the nineteenth century, crystallographers, glaciologists, and polar explorers for the first time demonstrated that frozen shapes are not dead but bearers of vital powers. Aware of this new scientific information, Romantic figures in England and America--including Coleridge and Poe, Percy and Mary Shelley, Emerson and Thoreau--challenged traditional representations of ice as waste and celebrated crystals, glaciers, and the poles as revelations of life as well as models of poetic composition. The Spiritual History of Ice explores this ecology of ice in fascinating detail, revealing not only a neglected context of the Romantic age but also the strange history and psychology of frozen phenomena.

The Spiritual History of Ice: Romanticism, Science, and the Imagination

Literature & Fiction

History & Criticism

PALGRAVE~MACMILLAN

Everyone Loves a Good Train Wreck: Why We Can't Look Away

Why can't we look away?
Whether we admit it or not, we're fascinated by evil. Dark fantasies, morbid curiosities, Schadenfreude: As conventional wisdom has it, these are the symptoms of our wicked side, and we succumb to them at our own peril. But we're still compelled to look whenever we pass a grisly accident on the highway, and there's no slaking our thirst for gory entertainments like horror movies and police procedurals. What makes these spectacles so irresistible?
In Everyone Loves a Good Train Wreck, the scholar Eric G. Wilson sets out to discover the source of our attraction to the caustic, drawing on the findings of biologists, sociologists, psychologists, anthropologists, philosophers, theologians, and artists. A professor of English literature and a lifelong student of the macabre, Wilson believes there's something nourishing in darkness. "To repress death is to lose the feeling of life," he writes. "A closeness to death discloses our most fertile energies."
His examples are legion, and startling in their diversity. Citing everything from elephant graveyards and Susan Sontag's On Photography to the Tiger Woods sex scandal and Steel Magnolias, Wilson finds heartening truths wherever he confronts death. In Everyone Loves a Good Train Wreck, the perverse is never far from the sublime. The result is a powerful and delightfully provocative defense of what it means to be human--for better and for worse.

Health, Fitness & Dieting

Psychology & Counseling

Sarah Crichton Books

Keep It Fake: Inventing an Authentic Life

Shoot straight from the hip. Tell it like it is. Keep it real. 
We love these commands, especially in America, because they appeal to what we want to believe: that there's an authentic self to which we can be true. But while we mock Tricky Dick and Slick Willie, we're inventing identities on Facebook, paying thousands for plastic surgeries, and tuning in to news that simply verifies our opinions. Reality bites, after all, and becoming disillusioned is a downer.
In his new book Keep It Fake: Inventing an Authentic Life, Eric G. Wilson investigates this phenomenon. He draws on neuroscience, psychology, sociology, philosophy, art, film, literature, and his own life to explore the possibility that there's no such thing as unwavering reality. Whether our left brains are shaping the raw data of our right into fabulous stories or we're so saturated by society's conventions that we're always acting out prefab scripts, we can't help but be phony.
But is that really so bad? We're used to being scolded for being fake, but Wilson doesn't scold--because he doesn't think we need to be reprimanded. Our ability to remake ourselves into the people we want to be, or at least remake ourselves to look like the people we want to be, is in fact a magical process that can be liberating in its own way. Because if we're all a bunch of fakes, shouldn't we embrace that? And if everything really is fake, then doesn't the fake become real--really?
In lively prose--honest, provocative, witty, wide-ranging (as likely to riff on Bill Murray as to contemplate Plato)--Keep It Fake answers these questions, uncovering bracing truths about what it means to be human and helping us turn our necessary lying into artful living.

Americans are addicted to happiness. When we’re not popping pills, we leaf through scientific studies that take for granted our quest for happiness, or read self-help books by everyone from armchair philosophers and clinical psychologists to the Dalai Lama on how to achieve a trouble-free life: Stumbling on Happiness; Authentic Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment; The Art of Happiness: A Handbook for Living. The titles themselves draw a stark portrait of the war on melancholy. More than any other generation, Americans of today believe in the transformative power of positive thinking. But who says we’re supposed to be happy? Where does it say that in the Bible, or in the Constitution? In Against Happiness, the scholar Eric G. Wilson argues that melancholia is necessary to any thriving culture, that it is the muse of great literature, painting, music, and innovation—and that it is the force underlying original insights. Francisco Goya, Emily Dickinson, Marcel Proust, and Abraham Lincoln were all confirmed melancholics. So enough Prozac-ing of our brains. Let’s embrace our depressive sides as the wellspring of creativity. What most people take for contentment, Wilson argues, is living death, and what the majority takes for depression is a vital force. In Against Happiness: In Praise of Melancholy, Wilson suggests it would be better to relish the blues that make humans people. Eric G. Wilson is the Thomas H. Pritchard Professor of English at Wake Forest University in Winston-Salem, North Carolina. The recipient of several important awards, including a National Humanities Center year-long fellowship, he is the author of five books on the relationship between literature and psychology. Consumer trends and popular medical and psychological interests indicate that Americans are addicted to happiness. At an increasing rate, they pop pills, seek both clinical and non-traditional therapies, read recent scientific studies that take for granted the population's quest for happiness, or buy self-help books by everyone from armchair philosophers and clinical psychologists to the Dalai Lama on how to achieve a trouble-free life: Stumbling on Happiness, Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment; The Art of Happiness: A Handbook for Living. The titles themselves draw a stark portrait of the war on melancholy. More than any other generation, Americans today believe in the transformative power of positive thinking. Happiness is considered a liberty, if not an ultimate life goal. But the scholar Eric G. Wilson argues that melancholia is necessary to any thriving culture, that it is the muse of great literature, painting, music, and innovation—and that it is the force underlying original insights. Francisco Goya, Emily Dickinson, Marcel Proust, and Abraham Lincoln—all confirmed melancholics. What most people take for contentment, Wilson argues, is living death, and what the majority sees as depressive is a vital force that inspires creativity, spurs ambition, and helps people form more intimate bonds with one another. It's time to throw off the shackles of positivity and relish the blues that make us human. "Mr. Wilson's basic thesis is that, without suffering, the human soul becomes stagnant and empty . . . We must live between the poles of sadness and joy and not try to expunge misery from our lives. Mr. Wilson makes a strong case . . . to deny our essential sadness in the face of a tragic world is to suppress a large part of what we are as human beings."—Colin McGinn, The Wall Street Journal "Utilitarianism is the philosophical doctrine according to which happiness is the sole intrinsic value—the only thing that is good in itself. Although invented by 19th-century Britons, notably Jeremy Bentham and J.S. Mill, utilitarianism has some claim to be the official philosophy of the U.S.A. or, as a philosopher might have it, the 'Utilitarian States of America.' In America, happiness is what makes life good, and unhappiness is what makes it bad. We must therefore seize the former and avoid the latter. Eric G. Wilson, a professor of English at Wake Forest University, disagrees, contending that utilitarianism has it the wrong way around. The 'happy types,' as he calls them, are apt to be bland, superficial, static, hollow, one-sided, bovine, acquisitive, deluded and foolish. Sold on the ideal of the happy smile and the cheerful salutation, they patrol the malls in dull uniformity, zombie-like, searching for contentment and pleasure, locked inside their own dreams of a secure and unblemished world, oblivious to objective reality, cocooned in a protective layer of bemused well-being . . . Mr. Wilson's basic thesis is that, without suffering, the human soul becomes stagnant and empty. We can only reach our full potential through pain—not a pathological kind of pain but the kind that comes from a recognition of death, decay and the bad day (or decade). We must live between the poles of sadness and joy and not try to expunge misery from our lives. Mr. Wilson makes a strong case for this anti-utilitarianism, in prose both spare and lavish. (Of Coleridge he writes: 'He was hurt into these sublimities. He was axed into ecstasy.') And indeed, to deny our essential sadness in the face of a tragic world is to suppress a large part of what we are as human beings. It is to retreat into a fearful solipsism, refusing to peep out into the world beyond—an approach to life that is all the more fatuous in that it can never succeed . . . Mr. Wilson's case for the dark night of the soul brings a much needed corrective to today's mania for cheerfulness. One would almost say that, in its eloquent contrarianism and earnest search for meaning, Against Happiness lifts the spirits."—Colin McGinn, The Wall Street Journal “[Wilson has] the passionate soul of a nineteenth-century romantic who, made wise by encounters with his own personal darkness, invites readers to share his reverence for nature and exuberance for life. Providing a powerful literary complement to recent psychological discussions of melancholy . . . this treatment is variously gloomy and ecstatic, infuriating and even inspiring.”—Booklist "An impassioned, compelling, dare I say poetic, argument on behalf of those who ‘labor in the fields of sadness’. . . a loose and compelling argument for fully embracing one's existence, for it is a miracle itself — a call to live hard and full, to participate in the great rondure of life and to be aware of the fact that no one perspective on the world is ever finally true."—Minneapolis Star Tribune “[A] lively, reasoned call for the preservation of melancholy in the face of all-too-rampant cheerfulness . . . pithy and epigrammatic."—Bookforum “Wilson's argument is important, and he makes it with passion."—Raleigh News and Observer "This slender, powerful salvo offers a sure-to-be controversial alternative to the recent cottage industry of high-brow happiness books. Wilson, chair of Wake Forest University's English Department, claims that Americans today are too interested in being happy. (He points to the widespread use of antidepressants as exhibit A.) It is inauthentic and shallow, charges Wilson, to rele

Against Happiness: In Praise of Melancholy

Mental Health

Farrar. Straus and Giroux

We are addicted to happiness. More than any other generation, Americans today believe in the power of positive thinking. But who says we're supposed to be happy? In Against Happiness, the scholar Eric G. Wilson argues that melancholia is necessary to any thriving culture, that it is the muse of great literature, painting, music, and innovation―and that it is the force underlying original insights.
So enough Prozac-ing of our brains. Let's embrace our depressive side as the wellspring of creativity. It's time to throw off the shackles of positivity and relish the blues thatmake us human.

Why can't we look away? Whether we admit it or not, we're fascinated by evil. Dark fantasies, morbid curiosities, Schadenfreude: as conventional wisdom has it, these are the symptoms of our wicked side, and we succumb to them at our own peril. But we're still compelled to look whenever we pass a grisly accident on the highway, and there's no slaking our thirst for gory entertainments like horror movies and police procedurals. What makes these spectacles so irresistible? In Everyone Loves a Good Train Wreck, the scholar Eric G. Wilson sets out to discover the source of our attraction to the gruesome, drawing on the findings of biologists, sociologists, psychologists, anthropologists, philosophers, theologians, and artists. A professor of English literature and a lifelong student of the macabre, Wilson believes there's something nourishing in darkness. "To repress death is to lose the feeling of life," he writes. "A closeness to death discloses our most fertile energies." His examples are legion and startling in their diversity. Citing everything from elephant graveyards and Susan Sontag's On Photography to the Tiger Woods sex scandal and Steel Magnolias, Wilson finds heartening truths wherever he confronts death. In Everyone Loves a Good Train Wreck, the perverse is never far from the sublime. The result is a powerful and delightfully provocative defense of what it means to be human―for better and for worse.

Politics & Social Sciences

Philosophy

We love these commands, especially in America, because they invoke what we love to believe: that there is an authentic self to which we can be true. But while we mock Tricky Dick and Slick Willie, we're inventing identities on Facebook, paying thousands for plastic surgeries, and tuning in to news that simply verifies our opinions. This is frontier forthrightness gone dreamy: reality bites, after all, and faith-based initiatives trump reality-based ones, and becoming disillusioned is a downer.
In Keep It Fake: Inventing an Authentic Life, Eric G. Wilson investigates this phenomenon. He draws on neuroscience, psychology, sociology, philosophy, art, film, literature, and his own life to explore the possibility that there's no such thing as unwavering reality. Whether our left brains are shaping the raw data of our right into fabulous stories or we're so saturated by society's conventions that we're always acting out prefab scripts, we can't help but be phony.
But are some fakes more real than others? Are certain lies true? In lively prose--honest, provocative, erudite, witty, wide-ranging (as likely to riff on Bill Murray as to contemplate Plato)--Keep It Fake answers these questions, uncovering bracing truths about what it means to be human and helping us turn our necessary lying into artful living.

See the best price to sell, buy, or rent books by Wilson, Eric G.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Wilson, Eric G.

See the best price to sell, buy, or rent books by Wilson, Eric G.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Summer of Discovery

How to Be Weird: An Off-Kilter Guide to Living a One-of-a-Kind Life

Dream-Child: A Life of Charles Lamb

The Spiritual History of Ice: Romanticism, Science, and the Imagination

Everyone Loves a Good Train Wreck: Why We Can't Look Away

Keep It Fake: Inventing an Authentic Life

Against Happiness: In Praise of Melancholy

Against Happiness: In Praise of Melancholy

Everyone Loves a Good Train Wreck: Why We Can't Look Away

Keep It Fake: Inventing an Authentic Life