In a book of unprecedented scope, Iain McGilchrist presents a fascinating exploration of the differences between the brain’s left and right hemispheres, and how those differences have affected society, history, and culture. McGilchrist draws on a vast body of recent research in neuroscience and psychology to reveal that the difference is profound: the left hemisphere is detail oriented, while the right has greater breadth, flexibility, and generosity. McGilchrist then takes the reader on a journey through the history of Western culture, illustrating the tension between these two worlds as revealed in the thought and belief of thinkers and artists from Aeschylus to Magritte. Emisfero destro ed emisfero sinistro: una delle poche cose che tutti sanno è che il nostro cervello è anatomicamente diviso in due metà. Già gli antichi greci speculavano sulla possibile esistenza di un cervello bipartito, ma oggi siamo ormai al luogo comune, che tutti hanno sentito o letto da qualche parte, secondo il quale l'emisfero destro, quello "femminile", sarebbe adibito alla creatività e alla sensibilità, mentre quello sinistro, più "maschile", sarebbe predisposto alla logica e alla praticità: due modi inconciliabili di vedere il mondo. Ma qual è la vera natura di questa dicotomia? Quanto c'è di scientifico e quanto di impreciso o fuorviante? Lo psichiatra, neuroscienziato e studioso di letteratura Iain McGilchrist ha dedicato una vita di studi a questo problema, ricavandone una tesi tanto affascinante e profonda quanto rigorosa e solida, basata su un approccio interdisciplinare che spazia da Platone a Freud, da Shakespeare a Roger Sperry, neuroscienziato vincitore del Nobel per le sue ricerche sulla specializzazione emisferica. Secondo McGilchrist, ciascun emisfero decifra la medesima realtà in un modo coerente, ma incompatibile con quello dell'altro: l'emisfero destro fa esperienza del mondo nella sua interezza e complessità tralasciando i dettagli, mentre l'emisfero sinistro è analitico ma per forza di cose frammentario. Quale delle due modalità guida il nostro comportamento? In Il padrone e il suo emissario, McGilchrist racconta l'inevitabile lotta per il potere di cui i due emisferi sono protagonisti. I segni di questo confronto sono rintracciabili nella storia della nostra civiltà, e ancora ben visibili nei contrasti che animano la cultura occidentale contemporanea. Oggi, in un mondo sempre più disincarnato e dominato dalle tecnologie digitali, sembrerebbe che l'emisfero sinistro stia prendendo pericolosamente il sopravvento su quello destro, forse cambiando per sempre il nostro modo di pensare e di comprendere la realtà in cui viviamo.

The first history of the United States told from the perspective of indigenous peoples Today in the United States, there are more than five hundred federally recognized Indigenous nations comprising nearly three million people, descendants of the fifteen million Native people who once inhabited this land. The centuries-long genocidal program of the US settler-colonial regimen has largely been omitted from history. Now, for the first time, acclaimed historian and activist Roxanne Dunbar-Ortiz offers a history of the United States told from the perspective of Indigenous peoples and reveals how Native Americans, for centuries, actively resisted expansion of the US empire. With growing support for movements such as the campaign to abolish Columbus Day and replace it with Indigenous Peoples’ Day and the Dakota Access Pipeline protest led by the Standing Rock Sioux Tribe, An Indigenous Peoples’ History of the United States is an essential resource providing historical threads that are crucial for understanding the present. In An Indigenous Peoples’ History of the United States, Dunbar-Ortiz adroitly challenges the founding myth of the United States and shows how policy against the Indigenous peoples was colonialist and designed to seize the territories of the original inhabitants, displacing or eliminating them. And as Dunbar-Ortiz reveals, this policy was praised in popular culture, through writers like James Fenimore Cooper and Walt Whitman, and in the highest offices of government and the military. Shockingly, as the genocidal policy reached its zenith under President Andrew Jackson, its ruthlessness was best articulated by US Army general Thomas S. Jesup, who, in 1836, wrote of the Seminoles: “The country can be rid of them only by exterminating them.” Spanning more than four hundred years, this classic bottom-up peoples’ history radically reframes US history and explodes the silences that have haunted our national narrative. An Indigenous Peoples' History of the United States is a 2015 PEN Oakland-Josephine Miles Award for Excellence in Literature.

Piranesi’s house is no ordinary building: its rooms are infinite, its corridors endless, its walls are lined with thousands upon thousands of statues, each one different from all the others. Within the labyrinth of halls an ocean is imprisoned; waves thunder up staircases, rooms are flooded in an instant. But Piranesi is not afraid; he understands the tides as he understands the pattern of the labyrinth itself. He lives to explore the house. There is one other person in the house—a man called The Other, who visits Piranesi twice a week and asks for help with research into A Great and Secret Knowledge. But as Piranesi explores, evidence emerges of another person, and a terrible truth begins to unravel, revealing a world beyond the one Piranesi has always known.

For most of its modern history, India was fated to be on the receiving end of cultural influence from other civilisations. But this isn't the complete story. A full millennium earlier, India's major cultural exports – religion, art, technology, astronomy, mathematics, medicine, language and literature – were shaping civilisations, travelling as far as Afghanistan in the West and Japan in the East. Out of India came pioneering merchants, astronomers and astrologers, scientists and mathematicians, surgeons and sculptors, as well as holy men, monks and missionaries. In The Golden Road, legendary historian William Dalrymple highlights India's oft-forgotten position as a crucial economic and civilisational hub at the heart of the ancient and early medieval history of Eurasia. From Angkor to Ayutthaya, The Golden Road traces the cultural flow of Indian religions, languages, artistic and architectural forms and mathematics throughout the world. In this groundbreaking tome, Dalrymple draws from a lifetime of scholarship to reinstate India as the great intellectual and philosophical superpower of ancient Asia.

Her name is Dinah. In the Bible, her life is only hinted at in a brief and violent detour within the more familiar chapters of the Book of Genesis that are about her father, Jacob, and his dozen sons. Told in Dinah's voice, this novel reveals the traditions and turmoils of ancient womanhood—the world of the red tent. It begins with the story of her mothers—Leah, Rachel, Zilpah, and Bilhah—the four wives of Jacob. They love Dinah and give her gifts that sustain her through a hard-working youth, a calling to midwifery, and a new home in a foreign land. Dinah's story reaches out from a remarkable period of early history and creates an intimate connection with the past. Deeply affecting, The Red Tent combines rich storytelling with a valuable achievement in modern fiction: a new view of biblical women's society.

On the occasion of his eightieth birthday, one of our great novelists delivers a playful and profound work about memory, love and the writer's endgame.Shortly after our narrator, a writer named Julian, begins this compact book by discussing the workings of involuntary memory, he interrupts himself with a bulletin to the "There will be a story—or a story within the story—but not just yet.”Of course, whether Departure(s) is mostly a fictional story or not, there is a lot of its author in it, including Barnes's reckoning with the blood disorder he has been living with since he was diagnosed in 2020, his long preoccupation with dying and grief and his mordant sense of the indignities and lost opportunities we're prey to in love. The story he promises to deliver is a love story, that of two friends he met at university in the 1960s, that time of touted but rarely experienced sexual freedom. Julian played matchmaker to Stephen (tall, gangling, uncertain) and Jean (tart and attractive); as the third wheel, he was deeply invested in the success of their love and insulted when they broke up. Time is swift, and forty years later, he tries again, watching as their rekindled affair produces joys, betrayals and disappointments of a different order.Barnes uses both his novelistic memory and his (real?) personal diary entries to examine not just the quixotic relationship of Jean and Stephen but his writer's eye upon it, and how his efforts on their behalf add up in the end. Despite promising them he'd never write about them, he breaks that promise to fulfill another one, amply, to his readers, in this delightful and poignant novelist’s game that only Julian Barnes knows how to play.

Philip K. Dick meets the Coen Brothers in this genre-bending near-future tech nightmare that is as bitingly funny as it is horrifically believable from the New York Times bestselling author of Horror Movie. Meet Julia Flang, a twenty-something former semi-professional gamer, living with her retired uncle, and working two jobs she doesn’t like. Out of the blue, her estranged mother, a CFO for one of the world’s largest tech companies, offers her a temp job with a payday Julia can’t refuse. One sham interview later, she’s offered the to chaperone a man in a vegetative state—one with proprietary AI implanted in his head—from California to the East Coast. To sum up in Julia’s own “You want me to remote control this dead dude across the country.” In a word, yes. But he’s not dead dead. Meet a middle-aged man who wakes within a disorienting hellscape filled with monstrous grotesqueries. Worse than the fluid, morphing reality in which he’s trapped, he has no memory of who he is. He certainly doesn’t remember getting the rabbit tattoo on his arm. He only knows that he must find a certain person. Who? He can’t remember. Using a cell phone modeled after a video game controller, Julia fumblingly navigates the man she calls “Bernie” from the company campus and onto planes and through one of the largest airports in America. All the while, the man endures an ever-changing and worsening nightmare that offers clues as to who he was—and who he must track down. And as their two lives intertwine, Julia and Bernie become unlikely allies and fugitives on a collision course with reality. Dead but Dreaming of Electric Sheep is a heady, horrific genre-bender from one of the most groundbreaking voices in fiction today.

A half-century after its translation into English, Erich Auerbach's "Mimesis" still stands as a monumental achievement in literary criticism. A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

The first edition of Frans de Waal's Chimpanzee Politics was acclaimed not only by primatologists for its scientific achievement but also by a much broader audience of politicians, business leaders, and social psychologists for its remarkable insights into very basic human needs and behaviors. In this revised edition―featuring a new gallery of color photographs along with a new introduction and epilogue―de Waal expands and updates his story of the Arnhem colony and its continuing political upheavals. We learn the fate of many memorable chimpanzees and meet the colony's current leaders and their allies. The new edition remains a detailed and thoroughly engrossing account―of sexual rivalries and coalitions, of actions governed by intelligence rather than instinct―and it reaffirms the complex bond between humans and their closest living relatives. As we watch the chimpanzees of Arnhem behave in ways we recognize from Machiavelli (and from the nightly news), de Waal reminds us again that the roots of politics are older than humanity.

From one of contemporary literature’s most exciting new voices, a haunting story centered on the Hungarian polymath John von Neumann, tracing the impact of his singular legacy on the dreams and nightmares of the twentieth century and the nascent age of AI Benjamín Labatut’s When We Cease to Understand the World electrified a global readership. A Booker Prize and National Book Award finalist, and one of the New York Times’ Ten Best Books of the Year, it explored the life and thought of a clutch of mathematicians and physicists who took science to strange and sometimes dangerous new realms. In The MANIAC, Labatut has created a tour de force on an even grander scale. A prodigy whose gifts terrified the people around him, John von Neumann transformed every field he touched, inventing game theory and the first programable computer, and pioneering AI, digital life, and cellular automata. Through a chorus of family members, friends, colleagues, and rivals, Labatut shows us the evolution of a mind unmatched and of a body of work that has unmoored the world in its wake. The MANIAC places von Neumann at the center of a literary triptych that begins with Paul Ehrenfest, an Austrian physicist and friend of Einstein, who fell into despair when he saw science and technology become tyrannical forces; it ends a hundred years later, in the showdown between the South Korean Go Master Lee Sedol and the AI program AlphaGo, an encounter embodying the central question of von Neumann's most ambitious unfinished project: the creation of a self-reproducing machine, an intelligence able to evolve beyond human understanding or control. A work of beauty and fabulous momentum, The MANIAC confronts us with the deepest questions we face as a species.

Korean translation of Art and Fear by David Bayles

Love’s Work is at once a memoir and a book of philosophy. Written by the English philosopher Gillian Rose as she was dying of cancer, it is a book about both the fallibility and endurance of love, love that becomes real and endures through an ongoing reckoning with its own limitations. Rose looks back on her childhood, the complications of her parents’ divorce and her dyslexia, and her deep and divided feelings about what it means to be Jewish. She tells the stories of several friends also laboring under the sentence of death. From the sometimes conflicting vantage points of her own and her friends’ tales, she seeks to work out (seeks, because the work can never be complete—to be alive means to be incomplete) a distinctive outlook on life, one that will do justice to our yearning both for autonomy and for connection to others. With droll self knowledge (“I am highly qualified in unhappy love affairs,” Rose writes, “My earliest unhappy love affair was with Roy Rogers”) and with unsettling wisdom (“To live, to love, is to be failed”), Rose has written a beautiful, tender, tough, and intricately wrought survival kit packed with necessary but unanswerable questions.

The first history of the United States told from the perspective of indigenous peoples Today in the United States, there are more than five hundred federally recognized Indigenous nations comprising nearly three million people, descendants of the fifteen million Native people who once inhabited this land. The centuries-long genocidal program of the US settler-colonial regimen has largely been omitted from history. Now, for the first time, acclaimed historian and activist Roxanne Dunbar-Ortiz offers a history of the United States told from the perspective of Indigenous peoples and reveals how Native Americans, for centuries, actively resisted expansion of the US empire. With growing support for movements such as the campaign to abolish Columbus Day and replace it with Indigenous Peoples’ Day and the Dakota Access Pipeline protest led by the Standing Rock Sioux Tribe, An Indigenous Peoples’ History of the United States is an essential resource providing historical threads that are crucial for understanding the present. In An Indigenous Peoples’ History of the United States, Dunbar-Ortiz adroitly challenges the founding myth of the United States and shows how policy against the Indigenous peoples was colonialist and designed to seize the territories of the original inhabitants, displacing or eliminating them. And as Dunbar-Ortiz reveals, this policy was praised in popular culture, through writers like James Fenimore Cooper and Walt Whitman, and in the highest offices of government and the military. Shockingly, as the genocidal policy reached its zenith under President Andrew Jackson, its ruthlessness was best articulated by US Army general Thomas S. Jesup, who, in 1836, wrote of the Seminoles: “The country can be rid of them only by exterminating them.” Spanning more than four hundred years, this classic bottom-up peoples’ history radically reframes US history and explodes the silences that have haunted our national narrative. An Indigenous Peoples' History of the United States is a 2015 PEN Oakland-Josephine Miles Award for Excellence in Literature.

The first nonfiction work by one of the most distinctive prose stylists of our era, Joan Didion's Slouching Towards Bethlehem remains, decades after its first publication, the essential portrait of America—particularly California—in the sixties. It focuses on such subjects as John Wayne and Howard Hughes, growing up a girl in California, ruminating on the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco's Haight-Ashbury, the heart of the counterculture. It contains Didion's famous essay, "Goodbye to All That".

In the book, Zinn presented a different side of history from the more traditional "fundamental nationalist glorification of country". Zinn portrays a side of American history that can largely be seen as the exploitation and manipulation of the majority by rigged systems that hugely favor a small aggregate of elite rulers from across the orthodox political parties. A People's History has been assigned as reading in many high schools and colleges across the United States. It has also resulted in a change in the focus of historical work, which now includes stories that previously were ignored Library Journal calls Howard Zinn’s book “a brilliant and moving history of the American people from the point of view of those…whose plight has been largely omitted from most histories.”

The story of fifteen billion years of cosmic evolution transforming matter and life into consciousness, of how science and civilisation grew up together, and of the forces and individuals who helped shape modern science. A story told with Carl Sagan's remarkable ability to make scientific ideas both comprehensible and exciting, based on his acclaimed television series.

"As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. He was laying on his hard, as it were armor-plated, back and when he lifted his head a little he could see his domelike brown belly divided into stiff arched segments on top of which the bed quilt could hardly keep in position and was about to slide off completely. His numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly before his eyes." With it's startling, bizarre, yet surprisingly funny first opening, Kafka begins his masterpiece, The Metamorphosis. It is the story of a young man who, transformed overnight into a giant beetle-like insect, becomes an object of disgrace to his family, an outsider in his own home, a quintessentially alienated man. A harrowing—though absurdly comic—meditation on human feelings of inadequacy, guilt, and isolation, The Metamorphosis has taken its place as one of the most widely read and influential works of twentieth-century fiction. As W.H. Auden wrote, "Kafka is important to us because his predicament is the predicament of modern man."