Bestselling author and Berkeley professor of thirty years Frederick Crews has always considered himself a skeptic. Forty years ago he thought he had found a tradition of thought — Freudian psychoanalytic theory — that had skepticism built into it. He gradually realized, however, that true skepticism is an attitude of continual questioning. The more closely Crews examined the logical structure and institutional history of psychoanalysis, the more clearly he realized that Freud's system of thought lacked empirical rigor. Indeed, he came to see Freudian theory as the very model of a modern pseudoscience. Follies of the Wise contains Crews's best writing of the past fifteen years, including such controversial and widely quoted pieces as "The Unknown Freud" and "The Revenge of the Repressed," essays whose effects still reverberate today. In addition, his topics range from "Intelligent Design" creationism to theosophy, from psychological testing to UFO zaniness, from American Buddhism to the current state of literary criticism. A single theme animates his bracing and witty discussions: the temptation to reach for deep wisdom without attending to the little voice that asks, "Could I, by any chance, be deceiving myself here?"

Superstitions are commonplace in the modern world. Mostly, however, they evoke innocuous images of people reading their horoscopes or avoiding black cats. Certain religious practices might also come to mind—praying to St. Christopher or lighting candles for the dead. Benign as they might seem today, such practices were not always perceived that way. In medieval Europe superstitions were considered serious offenses, violations of essential precepts of Christian doctrine or immutable natural laws. But how and why did this come to be? In Fearful Spirits, Reasoned Follies, Michael D. Bailey explores the thorny concept of superstition as it was understood and debated in the Middle Ages. Bailey begins by tracing Christian thinking about superstition from the patristic period through the early and high Middle Ages. He then turns to the later Middle Ages, a period that witnessed an outpouring of writings devoted to superstition—tracts and treatises with titles such as De superstitionibus and Contra vitia superstitionum. Most were written by theologians and other academics based in Europe’s universities and courts, men who were increasingly anxious about the proliferation of suspect beliefs and practices, from elite ritual magic to common healing charms, from astrological divination to the observance of signs and omens. As Bailey shows, however, authorities were far more sophisticated in their reasoning than one might suspect, using accusations of superstition in a calculated way to control the boundaries of legitimate religion and acceptable science. This in turn would lay the conceptual groundwork for future discussions of religion, science, and magic in the early modern world. Indeed, by revealing the extent to which early modern thinkers took up old questions about the operation of natural properties and forces using the vocabulary of science rather than of belief, Bailey exposes the powerful but in many ways false dichotomy between the "superstitious" Middle Ages and "rational" European modernity.

Many of these buildings have been destroyed or severely altered and the only records that survive are the drawings, engravings, architectural plans, and, more rarely, paintings of the period.

This remarkably illuminating portrait of Tennessee Williams lifts the veil on the heart and soul of his artistic inspiration: the unspoken collaboration between playwright and actor. At a low moment in Williams’s life, he summoned to New Orleans a young twenty-year-old writer, James Grissom, who had written him a letter asking for advice. After a long, intense conversation, Williams sent Grissom on a journey on his behalf to find out if he or his work had mattered to those who had so deeply mattered to him. Among the more than seventy women and men with whom Grissom talked were giants of American theater and film: Lillian Gish, (“the escort who brought me to Blanche”), Jessica Tandy (the original Blanche DuBois on Broadway), Eva Le Gallienne (“She was a stone against which I could rub my talent and feel that it became sharper”), Maureen Stapleton, Julie Harris, Bette Davis, Katherine Hepburn, Elia Kazan, Marlon Brando, John Gielgud, and many more. Follies of God provides dazzling insight into how Williams conjured the dramatic characters and plays that so transformed American theater.

Purpose is to impress upon the reader the fact that our grave problems with reference to crime will never solve themselves. Lawyers of character should lead the movement to modernize the procedure of American courts.