A timely exploration of intellectual dogmatism in politics, economics, religion, and literature—and what can be done to fight it Polarization may be pushing democracy to the breaking point. But few have explored the larger, interconnected forces that have set the stage for this crisis: namely, a rise in styles of thought, across a range of fields, that literary scholar Gary Saul Morson and economist Morton Schapiro call “fundamentalist.” In Minds Wide Shut, Morson and Schapiro examine how rigid adherence to ideological thinking has altered politics, economics, religion, and literature in ways that are mutually reinforcing and antithetical to the open-mindedness and readiness to compromise that animate democracy. In response, they propose alternatives that would again make serious dialogue possible. Fundamentalist thinking, Morson and Schapiro argue, is not limited to any one camp. It flourishes across the political spectrum, giving rise to dueling monologues of shouting and abuse between those who are certain that they can’t be wrong, that truth and justice are all on their side, and that there is nothing to learn from their opponents, who must be evil or deluded. But things don’t have to be this way. Drawing on thinkers and writers from across the humanities and social sciences, Morson and Schapiro show how we might begin to return to meaningful dialogue through case-based reasoning, objective analyses, lessons drawn from literature, and more. The result is a powerful invitation to leave behind simplification, rigidity, and extremism—and to move toward a future of greater open-mindedness, moderation, and, perhaps, even wisdom.

BRILLIANTLY EXPLORING TODAY'S CUTTING-EDGE BRAIN RESEARCH, MIND WIDE OPEN IS AN UNPRECEDENTED JOURNEY INTO THE ESSENCE OF HUMAN PERSONALITY, ALLOWING READERS TO UNDERSTAND THEMSELVES AND THE PEOPLE IN THEIR LIVES AS NEVER BEFORE. Using a mix of experiential reportage, personal storytelling, and fresh scientific discovery, Steven Johnson describes how the brain works -- its chemicals, structures, and subroutines -- and how these systems connect to the day-to-day realities of individual lives. For a hundred years, he says, many of us have assumed that the most powerful route to self-knowledge took the form of lying on a couch, talking about our childhoods. The possibility entertained in this book is that you can follow another path, in which learning about the brain's mechanics can widen one's self-awareness as powerfully as any therapy or meditation or drug. In Mind Wide Open, Johnson embarks on this path as his own test subject, participating in a battery of attention tests, learning to control video games by altering his brain waves, scanning his own brain with a $2 million fMRI machine, all in search of a modern answer to the oldest of questions: who am I? Along the way, Johnson explores how we "read" other people, how the brain processes frightening events (and how we might rid ourselves of the scars those memories leave), what the neurochemistry is behind love and sex, what it means that our brains are teeming with powerful chemicals closely related to recreational drugs, why music moves us to tears, and where our breakthrough ideas come from. Johnson's clear, engaging explanation of the physical functions of the brain reveals not only the broad strokes of our aptitudes and fears, our skills and weaknesses and desires, but also the momentary brain phenomena that a whole human life comprises. Why, when hearing a tale of woe, do we sometimes smile inappropriately, even if we don't want to? Why are some of us so bad at remembering phone numbers but brilliant at recognizing faces? Why does depression make us feel stupid? To read Mind Wide Open is to rethink family histories, individual fates, and the very nature of the self, and to see that brain science is now personally transformative -- a valuable tool for better relationships and better living.

Twenty years since its release, Stanley Kubrick's Eyes Wide Shut remains a complex, visually arresting film about domesticity, sexual disturbance, and dreams. It was on the director's mind for some 50 years before he finally put it into production. Using the Stanley Kubrick Archive at the University of the Arts, London, and interviews with participants in the production, the authors create an archeology of the film that traces the progress of the film from its origins to its completion, reception, and afterlife. The book is also an appreciation of this enigmatic work and its equally enigmatic creator.

In Cents and Sensibility, an eminent literary critic and a leading economist make the case that the humanities—especially the study of literature—offer economists ways to make their models more realistic, their predictions more accurate, and their policies more effective and just. Arguing that Adam Smith’s heirs include Austen, Chekhov, and Tolstoy as much as Keynes and Friedman, Gary Saul Morson and Morton Schapiro trace the connection between Adam Smith’s great classic, The Wealth of Nations, and his less celebrated book on ethics, The Theory of Moral Sentiments. The authors contend that a few decades later, Jane Austen invented her groundbreaking method of novelistic narration in order to give life to the empathy that Smith believed essential to humanity. More than anyone, the great writers can offer economists something they need—a richer appreciation of behavior, ethics, culture, and narrative. Original, provocative, and inspiring, Cents and Sensibility demonstrates the benefits of a dialogue between economics and the humanities and also shows how looking at real-world problems can revitalize the study of literature itself. Featuring a new preface, this book brings economics back to its place in the human conversation.

Adam Dalgluish is called to the elegant Steen Psychiatric Clinic to investigate why the head of the clinic, Enid Bolan was found with a chisel through her heart.

Using Dostoevsky's most radical experiment in literary form as a springboard, Gary Saul Morson examines a number of key topics in contemporary literary theory, including the nature of literary genres and their relation to interpretation. He convincingly argues that genre is not a property of texts alone but arises from the interaction between texts and readers. Observing that changing conventions of interpretation and classifciation may alter the perception of particular works, Morson considers a number of problematic texts that have been read according to two contradictory sets of conventions - "boundary works"--And a futher group of texts - "threshold works" such as Dostoevsky's Diary of a writer - that were evidently designed by their authors to exploit this kind of hermeneutic ambivalence. Morson explores the nature of the literary utopia and its parodic form, the anti-utopia, and, returning to Dostoevsky's Diary as his example, a third form which exists as a sort of open dialogue of utopia and anti-utopia