Whether watching teens practice cheerleading in a surveillance video or discussing death with a shoe salesclerk, these poems ultimately find a certain joy and redemptive love. Wit and wry observation mark these disjointed narratives from an agile new voice.

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.

A smart and funny book by a prominent Harvard psychologist, which uses groundbreaking research and (often hilarious) anecdotes to show us why we’re so lousy at predicting what will make us happy – and what we can do about it. Most of us spend our lives steering ourselves toward the best of all possible futures, only to find that tomorrow rarely turns out as we had expected. Why? As Harvard psychologist Daniel Gilbert explains, when people try to imagine what the future will hold, they make some basic and consistent mistakes. Just as memory plays tricks on us when we try to look backward in time, so does imagination play tricks when we try to look forward. Using cutting-edge research, much of it original, Gilbert shakes, cajoles, persuades, tricks and jokes us into accepting the fact that happiness is not really what or where we thought it was. Among the unexpected questions he poses: Why are conjoined twins no less happy than the general population? When you go out to eat, is it better to order your favourite dish every time, or to try something new? If Ingrid Bergman hadn’t gotten on the plane at the end of Casablanca, would she and Bogey have been better off? Smart, witty, accessible and laugh-out-loud funny, Stumbling on Happiness brilliantly describes all that science has to tell us about the uniquely human ability to envision the future, and how likely we are to enjoy it when we get there.

There is a paradox at the heart of our lives. We all want more money, but as societies become richer, they do not become happier. This is not speculation: It's the story told by countless pieces of scientific research. We now have sophisticated ways of measuring how happy people are, and all the evidence shows that on average people have grown no happier in the last fifty years, even as average incomes have more than doubled. The central question the great economist Richard Layard asks in Happiness is this: If we really wanted to be happier, what would we do differently? First we'd have to see clearly what conditions generate happiness and then bend all our efforts toward producing them. That is what this book is about-the causes of happiness and the means we have to effect it. Until recently there was too little evidence to give a good answer to this essential question, but, Layard shows us, thanks to the integrated insights of psychology, sociology, applied economics, and other fields, we can now reach some firm conclusions, conclusions that will surprise you. Happiness is an illuminating road map, grounded in hard research, to a better, happier life for us all.

A new perspective on life satisfaction and well-being over the life course What makes people happy? The Origins of Happiness seeks to revolutionize how we think about human priorities and to promote public policy changes that are based on what really matters to people. Drawing on a range of evidence using large-scale data from various countries, the authors consider the key factors that affect human well-being, including income, education, employment, family conflict, health, childcare, and crime. The Origins of Happiness offers a groundbreaking new vision for how we might become more healthy, happy, and whole.

The imperative of happiness dictates the conduct and direction of our lives. There is no escape from the tyranny of positivity. But is happiness the supreme good that all of us should pursue? So says a new breed of so-called happiness experts, with positive psychologists, happiness economists and self-development gurus at the forefront. With the support of influential institutions and multinational corporations, these self-proclaimed experts now tell us what governmental policies to apply, what educational interventions to make and what changes we must undertake in order to lead more successful, more meaningful and healthier lives. With a healthy scepticism, this book documents the powerful social impact of the science and industry of happiness, arguing that the neoliberal alliance between psychologists, economists and self-development gurus has given rise to a new and oppressive form of government and control in which happiness has been woven into the very fabric of power.

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life. Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated. Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress.