In The Threshold of the Visible World Kaja Silverman advances a revolutionary new political aesthetic, exploring the possibilities for looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire. She provides a detailed account of the social and psychic forces which constrain us to look and identify in normative ways, and the violence which that normativity implies.

Seeing Nature is a series of true stories or parables that offer tools for understanding relationships in the natural world. Many of the stories take the reader to wild landscapes, including canyons, tundra, and mountain ridges, while others contemplate the human-made world: water-diversion trenches and supermarket check-out lines. At one point, Krafel discovers a world in a one-inch-square patch of ordinary ground. Inspiring for parents and teachers seeking to encourage excitement about the positive role of people in nature, Krafel's work harkens to St. Exupery's The Little Prince, Annie Dillard's Pilgrim at Tinker Creek, and Jean Giono's The Man Who Planted Trees. As Barbara Damrosch has noted: [This book] is a gift.... With curiosity, wit, and a spare and graceful style, Krafel notes why birds in flocks land as they do, how islands can move upstream in a river, how kelp forests, swaying gently, break the force of the sea's power, how tundra plants create whole ecosystems on bare rock from mere specks of life. Yet there are no long-winded sermons about the woods, or cute anthropomorphizations of animals. The book's economical, unsentimental style is part of its originality. Paul Krafel's years as a park ranger afforded him time to walk and think--his job was to observe the world around him. He is now a teacher, creating a curriculum for young people that is built on a startlingly simple truth: The world around us is an extended conversation between "upward spirals"--nature in regenerative, procreative modes--and downward spirals toward entropy and disintegration. As nature refreshes and rebuilds, the downward spirals are overcome. Nature's process becomes the process of replenishing hope.

Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations. This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.

In Seeing Through the World, Jeremy Johnson introduces the work of German-Swiss philosopher, poet, and intellectual mystic Jean Gebser (1905-1973). Gebser's insights on the phenomenology of human consciousness bring profound intellectual depth to the field of integral philosophy. Until now, little secondary literature has been available in English

NEW YORK TIMES BESTSELLER • A “thrilling” (The New York Times), “dazzling” (The Wall Street Journal) tour of the radically different ways that animals perceive the world that will fill you with wonder and forever alter your perspective, by Pulitzer Prize–winning science journalist Ed Yong “One of this year’s finest works of narrative nonfiction.”—Oprah Daily ONE OF THE TEN BEST BOOKS OF THE YEAR: The Wall Street Journal, The New York Times, Time, People, The Philadelphia Inquirer, Slate, Reader’s Digest, Chicago Public Library, Outside, Publishers Weekly, BookPage ONE OF THE BEST BOOKS OF THE YEAR: Oprah Daily, The New Yorker, The Washington Post, The Guardian, The Economist, Smithsonian Magazine, Prospect (UK), Globe & Mail, Esquire, Mental Floss, Marginalian, She Reads, Kirkus Reviews, Library Journal The Earth teems with sights and textures, sounds and vibrations, smells and tastes, electric and magnetic fields. But every kind of animal, including humans, is enclosed within its own unique sensory bubble, perceiving but a tiny sliver of our immense world. In An Immense World, Ed Yong coaxes us beyond the confines of our own senses, allowing us to perceive the skeins of scent, waves of electromagnetism, and pulses of pressure that surround us. We encounter beetles that are drawn to fires, turtles that can track the Earth’s magnetic fields, fish that fill rivers with electrical messages, and even humans who wield sonar like bats. We discover that a crocodile’s scaly face is as sensitive as a lover’s fingertips, that the eyes of a giant squid evolved to see sparkling whales, that plants thrum with the inaudible songs of courting bugs, and that even simple scallops have complex vision. We learn what bees see in flowers, what songbirds hear in their tunes, and what dogs smell on the street. We listen to stories of pivotal discoveries in the field, while looking ahead at the many mysteries that remain unsolved. Funny, rigorous, and suffused with the joy of discovery, An Immense World takes us on what Marcel Proust called “the only true voyage . . . not to visit strange lands, but to possess other eyes.” WINNER OF THE ANDREW CARNEGIE MEDAL • FINALIST FOR THE KIRKUS PRIZE • FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD • LONGLISTED FOR THE PEN/E.O. WILSON AWARD