The Mechanics Of Wonder

This is a sustained argument about the idea of science fiction by a renowned critic. Overturning many received opinions, it is both controversial and stimulating Much of the controversy arises from Westfahl's resurrection of Hugo Gernsback - for decades a largely derided figure - as the true creator of science fiction. Following an initial demolition of earlier critics, Westfahl argues for Gernsback's importance. His argument is fully documented, showing a much greater familiarity with early American science fiction, particularly magazine fiction, than previous academic critics or historians. After his initial chapters on Gernsback, he examines the way in which the Gernsback tradition was adopted and modified by later magazine editors and early critics. This involves a re-evaluation of the importance of John W. Campbell to the history of science fiction as well as a very interesting critique of Robert Heinlein's Beyond the Horizon, one the seminal texts of American science fiction. In conclusion, Westfahl uses the theories of Gernsback and Campbell to develop a descriptive definition of science fiction and he explores the ramifications of that definition. The Mechanics of Wonder will arouse debate and force the questioning of presuppositions. No other book so closely examines the origins and development of the idea of science fiction, and it will stand among a small number of crucial texts with which every science fiction scholar or prospective science fiction scholar will have to read.

The Mechanics of Wonder will arouse debate and force the questioning of presuppositions. No other book so closely examines the origins and development of the idea of science fiction, and it will stand among a small number of crucial texts with which every science fiction scholar or prospective science fiction scholar will have to read.

What Noam Chomsky did for political commentary, and Stephen Hawking did for cosmology, Donald Harman Akenson does for the Bible and its interpreters, and the resulting conclusions are just as astounding. Surpassing Wonder illuminates how the greatest cultural artifacts of our civilization are related to one another and constitute the very core of our consciousness. With biting irreverence for denominational prejudices and the pretensions of academics, Akenson renews our sense of awe before these religious works. He challenges received doctrines, arguing that the ancient Jews were indeed idol worshippers and that Saint Paul did not believe in the bodily resurrection of Jesus of Nazareth or in the virgin birth. With wit, elegance, and clarity Surpassing Wonder makes the ancient Hebrew scriptures, the Christian New Testament, and the Talmuds of the Rabbis accessible to all and shows they can be understood only in relation to each other and against their specific historical settings. Akenson argues that each of the great texts must be considered as the product of a single author and thus as a religious invention - that is, as a self-consciously formed unity rather than an anthology of disparate works. He also argues that the great inventor of the Hebrew scriptures should be credited with constructing the very concept of narrative history and thus the foundations of Western civilization. Using a rich and imagistic language that combines tractor mechanics, Winnie-the-Pooh, and architecture with analogies from astronomy, evolutionary biology, and economics, Akenson brings about nothing less than a radical reformation of how to think about the sacred texts. He restores their spiritual power through a just appreciation of the achievement of their authors while leaving readers to decide for themselves on the presence of a "guiding hand." Surpassing Wonder is a penetrating study of the historian's craft and a brilliant exposé of how theologians and biblical scholars abuse historical reasoning and evidence in their treatment of the sacred texts. Just as a previous reformation cast out the priestly intercessors, so Akenson casts the scholars out of the temple and lets readers in to see the texts anew. In so doing he reinvests religion with meaning for a contemporary world and shows us how Western civilization was created not by the Greeks of Athens or the patricians of Rome but by the desert worshippers of Yahweh.

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Why pause and study this particular painting among so many others ranged on a gallery wall? Wonder, which Descartes called the first of the passions, is at play; it couples surprise with a wish to know more, the pleasurable promise that what is novel or rare may become familiar. This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences. In three instructive instances--a pair of paintings by Cy Twombly, the famous problem of doubling the area of a square, and the history of attempts to explain rainbows--Philip Fisher examines the experience of wonder as it draws together pleasure, thinking, and the aesthetic features of thought. Through these examples he places wonder in relation to the ordinary and the everyday as well as to its opposite, fear. The remarkable story of how rainbows came to be explained, fraught with errors, half-knowledge, and incomplete understanding, suggests that certain knowledge cannot be what we expect when wonder engages us. Instead, Fisher argues, a detailed familiarity, similar to knowing our way around a building or a painting, is the ultimate meeting point for aesthetic and scientific encounters with novelty, rare experiences, and the genuinely new.

Dennis Cooper unveils a mesmerizing debut story collection for his Little House on the Bowery fiction series. “[A] provocative and refreshing debut collection.” —Publishers Weekly “Praise seems superfluous for a book as accomplished, cohesive, and devastating as Lonely Christopher’s debut collection, so consider these words admiration instead, and admonishment: if you still think fiction counts for anything, then you should buy this book right now.” —Dale Peck, author of What We Lost and Time To Say Goodbye A selection of Dennis Cooper’s Little House on the Bowery series. Two boys lie on a bed, one of them is already dead; they listen to Glenn Gould playing Bach and talk about suicide and love. A lonely narrator mourns the end of a relationship and the disappearance of a mysterious object as a frustrated artist jumps out of a moving car on his birthday and runs for the last streetlamp in the universe. Awkward parents and angsty teens negotiate a dark suburban landscape, searching for something they can’t name, spelling out balletic sentences of failure and shame. Helicopters menace the night sky, a horse is murdered in a kitchen, victims go missing in swamps of ambiguity, and everybody waits for what the construction of a new road into town will bring: the end of the world or something worse. The Mechanics of Homosexual Intercourse, a radical map of shortcomings in our daily experiences in the form of a debut story collection, presents thematically related windows into serious emotional trouble and monstrous love. Lonely Christopher combines a striking emotional grammar with an unyielding imagination in the lovely-ugly architecture of his stories.