I’m a professor of cognitive psychology at UCLA, and also a poet. Growing up on a dairy farm in British Columbia, I immersed myself in the world of books. My mother showed me her well-worn copy of a poetry book written by her Scottish great-great-aunt, and I longed to create my own arrangements of words. Later, as a student at the University of British Columbia and then Stanford, my interest in creativity was channeled into research on how people think. I’ve studied how people use analogies and metaphors to create new ideas. In addition to books on the psychology of thinking and reasoning, I’ve written several volumes of poetry.
What is creativity, and what makes it possible? If a new idea came from nothing, would it be magic? If a new idea were generated by recombining old ones, would it really be “creative”? In this book, Margaret Boden, a distinguished philosopher of science, thinks through what creativity really is, whether it takes the form of a world-altering advance in science or a novel jazz improvisation. To help understand human creativity, the book compares it to the workings of computer programs—ones capable of generating art or music that at least appears creative. Readers who have followed more recent developments in artificial intelligence will be able to consider for themselves whether machine creativity is, or could be, a reality. The book helped me think about what it means to create an “authentic” poem.
How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner?
When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart, together with computing models from the field of artificial intelligence to uncover the nature of human creativity in the arts.
The second edition of The Creative Mind has been updated to include recent…
I’ve spent my career as a sociologist studying how creative people work, what social settings are most conducive to creativity, and how to foster creativity for everyone in our daily lives. I know that creativity is often not easy and can even be met with hostility much more frequently than we might think. Creativity is, after all, a type of deviance and creative people can face real obstacles in finding and following their vision. But a richer understanding of how and why creativity happens – and of its obstacles – can be a tool for making a more vibrant, creative, inclusive, and just world.
How do jazz musicians think about what they are doing when they are improvising within a group? How do they learn to do such a thing in the first place – going their own way, but still going there together?
This is an immersion into the minds of musicians, starting with their earliest days and going through the rigors of learning their craft and then mastering it. The combination of discipline and freedom, hard work and wild inventive joy, finding an individual voice, and being part of the larger whole – the things that make improvisation a breath-taking artistic high-wire act – come together in this book.
I can’t carry a tune in a bucket, but this book made me wish I was a jazz musician.
This text reveals how musicians, both individually and collectively, learn to improvise. It aims to illuminate the distinctive creative processes that comprise improvisation. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner demonstrates that a lifetime of preparation lies behind the skilled improviser's every note. Berliner's integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic and a tradition. The product of…
My passion for leadership and aspiring women leaders comes from my own leadership experiences and working with women and men executives and aspiring executives, every day. I had to make some difficult work choices in my 20s and 30s (with four young children) and was wonderfully supported by some wise women. Many of my choices were different from my peers and we continue to have to make more difficult choices than our male colleagues. We need to help each other, every day. I lead a blended life co-leading an executive search and leadership advisory firm, while also being a mother, grandmother, wife, mentor, friend, and lover of good music, theatre, food, wine, and curious people.
Early in my varied career I had musical training in piano and sang in choirs, including with orchestras.
The notion of a leader as an orchestra conductor,never appealed, as orchestras usually play set music. Leadership is usually not like that: situations are unpredictable, crises occur, and we take people in new directions.
Having observed one of my jazz-playing sons, I started using jazz groups and improvisation as a better analogy: a group of people who have a common goal, each have their own talents and want to explore musical journeys differently. They allow each other to ‘shine’ in a supportive and trusted environment.
The journey is greater than the individual parts. Barrett’s book then validated my messy thinking, and articulated these leadership lessons very well.
What Duke Ellington and Miles Davis teach us about leadership How do you cope when faced with complexity and constant change at work? Here's what the world's best leaders and teams do: they improvise. They invent novel responses and take calculated risks without a scripted plan or a safety net that guarantees specific outcomes. They negotiate with each other as they proceed, and they don't dwell on mistakes or stifle each other's ideas. In short, they say "yes to the mess" that is today's hurried, harried, yet enormously innovative and fertile world of work. This is exactly what great jazz…
All of my books and stories have at least one thing in common: strong women. I’ve always been fascinated by women who are fighters and who aren’t afraid to challenge the status quo. Astra, the main character in A Bright Young Thing, is definitely not alone in pushing back against society’s expectations: the women in these books (and many in real life in the 1930s) also find the strength to say no, to stand in their power, and truly live life their way.
The most famous short story in this collection is about Cora, whose whole life is spent in drudgery first to her own family, and then to the locally prominent Studevants. In her own life, Cora is somewhat unconventional—she feels no shame for having an illegitimate child at a time when that was frowned upon, to say the least—but she’s quietly obedient to her difficult employers. Until, that is, one of them causes a tragedy, and Cora feels compelled to speak up very publicly. And, oh, when she does it is immensely satisfying! (TW: racially charged language and abortion)
THE CELEBRATED SHORT STORY COLLECTION FROM THE AMERICAN POET AND WRITER OFTEN CALLED THE 'POET LAUREATE OF HARLEM'
A black maid forms a close bond with the daughter of the cruel white couple for whom she works. Two rich, white artists hire a black model to pose as a slave. A white-passing boy ignores his mother when they cross each other on the street.
Written with sardonic wit and a keen eye for the absurdly unjust, these fourteen stories about racial tensions are as relevant today as the day they were penned, and linger in the mind long after the…
I am the author of the Black Viking and Hellbent Riffraff Thrillers and several volumes of dirty realism poetry. I am also the Founder and editor-in-chief of Bristol Noir, an indie publisher and ezine specialising in curiously dark fiction and crime noir. Since 2017 Bristol Noir has been publishing up-and-coming and best-selling authors from around the world. I’m a writer originally from Northumberland in Northern England. In the late 90s, I studied in Greater Manchester when the IRA bomb went off and during the infamous years of the Hacienda club. I now live in Bristol. I’ve devoted my writing to exploring my heritage and the environments I’ve been in.
This is angry, savage, beautifully poetic, and uncomfortably real crime fiction.
Sallis writes like a master blues or jazz musician with deft control over what notes not to play, as much as which to let shout out…creating tensions, succinct phrasing, and beautifully rich and condensed narratives and characters.
I’ve learned a lot from Sallis’ books and the translation onto the screen of this one in particular. They're a masterclass of modern neo-noir.
'Much later, as he sat with his back against an inside wall of a Motel 6 just north of Phoenix, watching the pool of blood lap toward him, Driver would wonder whether he had made a terrible mistake. Later still, of course, there'd be no doubt. But for now Driver is, as they say, in the moment. And the moment includes this blood lapping toward him, the pressure of dawn's late light at windows and door, traffic sounds from the interstate nearby, the sound of someone weeping in the next room....'
Thus begins Drive, a new novella by James Sallis.…
I write historical YA in verse—pretty much the niche of the niche. Before I was published, I spent many years writing and querying various YA projects in prose, but it wasn’t until I decided to try a project in verse that I really found my groove. Nowadays, everything I write falls under that same (small) umbrella, so I really looked to novels like the ones here to learn from the best. These days, I still love reading YA historicals and anything in verse, but YA historicals in verse remain forever my favorite.
Here in Harlem pays homage to the people of Harlem in the first half of the 20th century. I loved how the rhythmic, musical verse brings the setting to life. It’s modeled on Spoon River Anthology by Edgar Lee Masters, but in a completely unique way that will really speak to YA readers.
The voices depicted in this poetry collection—especially Clara Brown’s recurring testimonies—make the book feel like a fully alive story rather than simple moments captured in time.
Acclaimed writer Walter Dean Myers celebrates the people of Harlem with these powerful and soulful first-person poems in the voices of the residents who make up the legendary neighborhood: basketball players, teachers, mail carriers, jazz artists, maids, veterans, nannies, students, and more. Exhilarating and electric, these poems capture the energy and resilience of a neighborhood and a people.
You could tell me it's just a grocery list, but if it was written by
Murakami, I would read it anyway. I have devoured every book he has written.
This one is a series of short stories, and I believe all of them are older. It is a collection of stories he has written earlier in his career. As a musician, I
especially identify with Murakami and the way he talks about music in his work.
The story Charlie Parker Plays the Bossa Nova is enough to have you in
laughing and crying at the same time.
A mindbending new collection of short stories from the unique, internationally acclaimed author of Norwegian Wood and The Wind-up Bird Chronicle.
THE SUNDAY TIMES BESTSELLER
The eight masterly stories in this new collection are all told in the first person by a classic Murakami narrator. From nostalgic memories of youth, meditations on music and an ardent love of baseball to dreamlike scenarios, an encounter with a talking monkey and invented jazz albums, together these stories challenge the boundaries between our minds and the exterior world. Occasionally, a narrator who may or may not be Murakami himself is present. Is it…
My passion for the mystery genre began when I read Nancy Drew back in second grade. I chain read the series. I think it’s a natural impulse to want to understand mysteries and the one thing we can solve is a mystery on paper since so many things don’t lend themselves easily to explanations. The first incarnation of my writing career was as an M/M romance author and one of my romantic suspense novels, Acts of Passion, featured Dr. Michael DiSanto, a genius, quirky, and handsome profiler with a fascinating past. I grew to love that character so much that his backstory was born in The Boy on the Lawn.
This book is not for the faint of heart. It was gripping but also haunting. Jazz is the son of a convicted serial killer. He’s bright and good-hearted, yet lives in fear of what kind of psycho could be lurking in himself because of his parentage. When a woman is found dead near his town, he sees clues at the crime scene that the police miss but he knows are his father’s signature. He begins to investigate and as always happens, danger draws closer as the truth is unearthed. What I loved about this story was Jazz. A sympathetic character, just trying to have a normal life with a best friend and a girl friend but who can’t get away from the fact he sees the world through a lens colored by having a serial killer for a father. Not to mention that his father isn’t finished with him, either.
What if the world's worst serial killer...was your dad? Jasper (Jazz) Dent is a likable teenager. A charmer, one might say. But he's also the son of the world's most infamous serial killer and for Dear Old Dad, Take Your Son to Work Day was year-round. Jazz has witnessed crime scenes the way cops wish they could - from the criminal's point of view. And now bodies are piling up in Lobo's Nod. In an effort to clear his name, Jazz joins the police in a hunt for a new serial killer but Jazz has a secret--could he be more…
My father, a huge Ella Fitzgerald fan, had a bunch of her records, and took us to hear her live once. So I knew mid-century jazz, but I had yet to discover its early origins. From the first, I knew my trilogy was set in the 1920s and one of the main characters had to be a jazz musician. I began collecting dozens of recordings by early jazz and blues artists, reading books about them, and I developed an enthusiasm for these early musicians. I found that the original “jazz maniacs” had the same passion for their music that I felt about rock and roll in the early 1960s.
I highly value Condon’s ability to describe the daily anxiety and desperation of the poor jazz musicians, who constantly struggled to find work and pay the rent. He does so with great good humor. He tells a good story and he’s got a million of them, including a few about gangsters, but mostly about the many great jazz musicians like Bix Beiderbecke, whom he worked with and knew well. His many terse stories prove that brevity is the soul of wit. His dialogue is worthy of Ben Hecht—he’s good at wisecracks. I was sorry when the book came to an end.
Eddie Condon (1905-1973) pioneered a kind of jazz popularly known as Chicago-Dixieland, though musicians refer to it simply as Condon style. Played by small ensembles with driving beat, it was and is an informal, exciting music, slightly disjointed and often mischievous. The same could be said of Condon's autobiography, We Called It Music, a book widely celebrated for capturing the camaraderie of early jazz. Condon's wit was as legendary as the music he boosted. Here is Condon on modern jazz: "The boopers flat their fifths. We consume ours." On Bix Beiderbecke: "The sound came out like a girl saying yes."…
This fictionalized story is about one of Hollywood’s
biggest silent film stars (Colleen Moore), on whom the three movies entitled A
Star is Born are based.
Yes,
it’s rags to riches for Doreen O’Dare, a determined teenager who follows her
dream and makes it to the top, but who also sees the writing on the wall with
the transition to talkies. She’s been sharp
about her money, and changes course to follow another dream--making it to the
top again, this time her way.
In
the process, Rooney reveals fascinating details about the making of silent
films-- how actors and directors grew up with the industry, learning as they
went, not always knowing what they were doing, little fish often surpassing big
fish. And of her sad love story with a
publicity genius who makes her a star but can’t keep up with her.
From the bestselling author of Lillian Boxfish Takes a Walk comes a novel about Hollywood, the cost of stardom, and selfless second acts, inspired by an extraordinary true story.
Chicago, 1916. Doreen O'Dare is fourteen years old when she hops a Hollywood-bound train with her beloved Irish grandmother. Within a decade, her trademark bob and insouciant charm make her the preeminent movie flapper of the Jazz Age. But her success story masks one of relentless ambition, tragedy, and the secrets of a dangerous marriage.
Her professional life in flux, Doreen trades one dream for another. She pours her wealth and…
