Western culture, which influenced the whole world, came from Europe. But its roots are not there. They are in Athens and Jerusalem. European culture takes its bearing from references that are not in Europe: Europe is eccentric. What makes the West unique? What is the driving force behind its culture? Remi Brague takes up these questions in Eccentric Culture. This is not another dictionary of European culture, nor a measure of the contributions of a particular individual, religion, or national tradition. The author's interest is especially, with regard to the transmission of that culture, to articulate the dynamic tension that has propelled Europe and more generally the West toward civilization. It is this mainspring of European culture, this founding principle, that Brague calls "Roman". Yet the author's intent is not to write a history of Europe, and less yet to defend the historical reality of the Roman Empire. Brague rather isolates and generalizes one aspect of that history or, one might say, cultural myth, of ancient Rome. The Roman attitude senses its own incompleteness and recognizes the call to borrow from what went before it. Historically, it has led the West to borrow from the great traditions of Jerusalem and Athens: primarily the Jewish and Christian tradition, on the one hand, and the classical Greek tradition on the other. Nowhere does the author find this Roman character so strongly present as in the Christian and particularly Catholic attitude toward the incarnation. At once an appreciation of the richness and diversity of the sources and their fruit, Eccentric Culture points as well to the fragility of their nourishing principle. As such, Brague finds in it notonly a means of understanding the past, but of projecting a future in (re)proposing to the West, and to Europe in particular, a model relationship of what is proper to it. An international bestseller (translated from the original French edition of Europe, La Voie Romaine), this work has been or is presently being translated into thirteen languages.

A New York Times Notable Book of 2020 A Bloomberg Best Non-Fiction Book of 2020 A Behavioral Scientist Notable Book of 2020 A Human Behavior & Evolution Society Must-Read Popular Evolution Book of 2020 A bold, epic account of how the co-evolution of psychology and culture created the peculiar Western mind that has profoundly shaped the modern world. Perhaps you are WEIRD: raised in a society that is Western, Educated, Industrialized, Rich, and Democratic. If so, you’re rather psychologically peculiar. Unlike much of the world today, and most people who have ever lived, WEIRD people are highly individualistic, self-obsessed, control-oriented, nonconformist, and analytical. They focus on themselves—their attributes, accomplishments, and aspirations—over their relationships and social roles. How did WEIRD populations become so psychologically distinct? What role did these psychological differences play in the industrial revolution and the global expansion of Europe during the last few centuries? In The WEIRDest People in the World, Joseph Henrich draws on cutting-edge research in anthropology, psychology, economics, and evolutionary biology to explore these questions and more. He illuminates the origins and evolution of family structures, marriage, and religion, and the profound impact these cultural transformations had on human psychology. Mapping these shifts through ancient history and late antiquity, Henrich reveals that the most fundamental institutions of kinship and marriage changed dramatically under pressure from the Roman Catholic Church. It was these changes that gave rise to the WEIRD psychology that would coevolve with impersonal markets, occupational specialization, and free competition—laying the foundation for the modern world. Provocative and engaging in both its broad scope and its surprising details, The WEIRDest People in the World explores how culture, institutions, and psychology shape one another, and explains what this means for both our most personal sense of who we are as individuals and also the large-scale social, political, and economic forces that drive human history. Includes black-and-white illustrations.

An old woman enters into a fantastical world of dreams and nightmares in this surrealist classic admired by Björk and Luis Buñuel. Leonora Carrington, painter, playwright, and novelist, was a surrealist trickster par excellence, and The Hearing Trumpet is the witty, celebratory key to her anarchic and allusive body of work. The novel begins in the bourgeois comfort of a residential corner of a Mexican city and ends with a man-made apocalypse that promises to usher in the earth’s rebirth. In between we are swept off to a most curious old-age home run by a self-improvement cult and drawn several centuries back in time with a cross-dressing Abbess who is on a quest to restore the Holy Grail to its rightful owner, the Goddess Venus. Guiding us is one of the most unexpected heroines in twentieth-century literature, a nonagenarian vegetarian named Marian Leatherby, who, as Olga Tokarczuk writes in her afterword, is “hard of hearing” but “full of life.”

What if we ascribe significance to aesthetic and social divergences rather than waving them aside as anomalous? What if we look closely at what does not appear central, or appears peripherally, or does not appear at all, viewing ellipses, outliers, absences, and outtakes as significant? Eccentric Modernisms places queer demands on art history, tracing the relational networks connecting cosmopolitan eccentrics who cultivated discrepant strains of modernism in America during the 1930s and 1940s. Building on the author’s earlier studies of Gertrude Stein and other lesbians who participated in transatlantic cultural exchanges between the world wars, this book moves in a different direction, focusing primarily on the gay men who formed Stein’s support network and whose careers, in turn, she helped to launch, including the neo-romantic painters Pavel Tchelitchew and writer-editor Charles Henri Ford. Eccentric Modernisms shows how these “eccentric modernists” bucked trends by working collectively, reveling in disciplinary promiscuity and sustaining creative affiliations across national and cultural boundaries.

The first impression of W. Reginald Bray (1879-1939) was one of an ordinary middle-class Englishman quietly living out his time as an accountant in the leafy suburb of Forest Hill, London. A glimpse behind his study door, however, revealed his extraordinary passion for sending unusual items through the mail. In 1898, Bray purchased a copy of the Post Office Guide, and began to study the regulations published quarterly by the British postal authorities. He discovered that the smallest item one could post was a bee, and the largest, an elephant. Intrigued,he decided to experiment with sending ordinary and strange objects through the post unwrapped, including a turnip, abowler hat, a bicycle pump, shirt cuffs, seaweed, a clothes brush, even a rabbit's skull. He eventually posted his Irish terrier and himself (not together), earning him the name "The Human Letter." He also mailed cards to challenging addressessome in the form of picture puzzles, others sent to ambiguous recipients at hard to reach destinationsall in the name of testing the deductive powers of the beleaguered postman. Over time hispassion changed from sending curios to amassing the world's largest collection of autographs, also via the post. Starting with key British military officers involved in the Second Boer War, he acquired thousands of autographs during the first four decades of the twentieth centuryof politicians, military men, performing artists, aviators, sporting stars, and many others. By the time he died in 1939, Bray had sent out more than thirty-two thousand postal curios and autograph requests. The Englishman Who Posted Himself and Other Curious Objects tells W. Reginald Bray's remarkable tale for the first time and includes delightful illustrations of some of his most amazing postal creations. Readers will never look at the objects they post the same way again.

What did it mean to call someone 'eccentric' in nineteenth-century Paris? And why did breaking with convention arouse such ambivalent responses in middle-class readers, writers, and spectators? From high society to Bohemia and the demi-monde to the madhouse, the scandal of nonconformism provoked anxiety, disgust, and often secret yearning. In a culture preoccupied by the need for order yet simultaneously drawn to the values of freedom and innovation, eccentricity continually tested the boundaries of bourgeois identity, ultimately becoming inseparable from it. This interdisciplinary study charts shifting French perceptions of the anomalous and bizarre from the 1830s to the fin de siècle, focusing on three key issues. First, during the July Monarchy eccentricity was linked to fashion, dandyism, and commodity culture; to many Parisians it epitomized the dangerous seductions of modernity and the growing prestige of the courtesan. Second, in the aftermath of the 1848 Revolution eccentricity was associated with the Bohemian artists and performers who inhabited 'the unknown Paris', a zone of social exclusion which middle-class spectators found both fascinating and repugnant. Finally, the popularization of medical theories of national decline in the latter part of the century led to decreasing tolerance for individual difference, and eccentricity was interpreted as a symptom of hidden insanity and deformity. Drawing on a wide range of sources, including etiquette manuals, fashion magazines, newspapers, novels, and psychiatric treatises, the study highlights the central role of gender in shaping perceptions of eccentricity. It provides new readings of works by major French writers and illuminates both well-known and neglected figures of Parisian modernity, from the courtesan and Bohemian to the female dandy and circus freak.

This book provides a corrective to existing scholarship on eccentric artists by reconsidering the sudden and dramatic emergence of aesthetic strangeness during the mid Edo period. It explains how through the period, eccentricity and madness developed and