Here are 100 books that See What I'm Saying fans have personally recommended if you like
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As a child, I felt profoundly dissatisfied by the pat and cardboard cutout explanations that some teachers offered for life and the universe: there had to be more! I decided to go into science. The explanatory power of science is 'next level,' to use a contemporary phrase, and unless and until we explore it, we'll miss the beauty and sheer wonder of the universe. Neither should we overly specialize: science is not compartmentalized, but vastly different fields of science feed into and reinforce one another. Popular science has an essential role to play: irrespective of how arcane hard science may appear to be, its story can always be told in everyday words.
I loved this book because it offers a refreshing view of what neuroscience can and should be. Unlike different, highly credentialed neuroscientists who routinely offer vastly incompatible views of consciousness and who we ultimately are, this book instead focuses on the extraordinary theme of how the brain organizes the engineering of consciousness rather than on the more elusive and controversial deeper questions.
As an illustration of the many mind-broadening themes broached in this superb book, instinct is often used as the be-all and end-all explanation of certain animal and human behaviors. Of the two hundred or so books I have read on the subject of consciousness and the brain, I have never before come across a more cogent explanation of how instinct arises and sets over many generations.
What does drug withdrawal have in common with a broken heart? Why is the enemy of memory not time, but other memories? How can a blind person learn to see with her tongue or a deaf person learn to hear with his skin? Why did many people in the 1980s mistakenly perceive book pages to be slightly red in colour? Why is the world's best archer armless? Might we someday control a robot with our thoughts, just as we do our fingers and toes? Why do we dream at night, and what does that have to do with the rotation…
Thanks to a degenerative retinal eye disease, I’ve lived on pretty much every notch of the sight-blindness continuum. While going blind super slowly I’ve engaged with the science of seeing and not-seeing as an academic and artist for about 25 years. I like to say that there are as many ways of being blind as there are of being sighted, there are just fewer of us. Besides teaching literature and humanities courses at NYU, I’ve lectured on art, accessibility, technology, and disability at universities and institutions around the country. I love sharing stories about the brain on blindness, and hope you find my recommendations as fascinating as I do.
This seventeenth-century offering is where the famous Molyneux Man first appears in the form of a question: If a man born blind and capable of distinguishing a cube from a sphere by touch, was suddenly made to see, would he be able to distinguish the two objects by sight alone? The answer was a resounding “no!” Just as we must learn to read, we must learn to see, gradually building up connections between our sense of touch and our sense of sight. This was a revelation to me when I encountered it as a person going blind and learning to not-see. If humans are not exactly born blank slates, we are certainly unfinished ones, whose environments and education supply us with knowledge and brain power to perceive the world.
Includes generous selections from the Essay, topically arranged passages from the replies to Stillingfleet, a chronology, a bibliography, a glossary, and an index based on the entries that Locke himself devised.
Thanks to a degenerative retinal eye disease, I’ve lived on pretty much every notch of the sight-blindness continuum. While going blind super slowly I’ve engaged with the science of seeing and not-seeing as an academic and artist for about 25 years. I like to say that there are as many ways of being blind as there are of being sighted, there are just fewer of us. Besides teaching literature and humanities courses at NYU, I’ve lectured on art, accessibility, technology, and disability at universities and institutions around the country. I love sharing stories about the brain on blindness, and hope you find my recommendations as fascinating as I do.
For me, thinking about blindness and the brain all started with an essay by Oliver Sacks called “To See and Not See” (An Anthropologist on Mars). In The Mind’s Eye Sacks picks up some of the threads of that earlier essay and goes deep into how seeing is not just a matter of having functioning eyes. From the pianist who could suddenly no longer read music to blind people (like myself) who still consider themselves very visual, these neurological tales are intellectually intriguing and emotionally compelling. Sacks even includes his own journal of vision loss as one of the case studies. But whether he is the patient or the doctor, his distinct voice and personal connection to his subject matter has had a huge influence on my own writing.
How does the brain perceive and interpret information from the eye? And what happens when the process is disrupted?
In The Mind's Eye, Oliver Sacks tells the stories of people who are able to navigate the world and communicate with others despite losing what many of us consider indispensable senses and abilities: the capacity to recognize faces, the sense of three-dimensional space, the ability to read, the sense of sight. For all of these people, the challenge is to adapt to a radically new way of being in the world - and The Mind's Eye is testament to the myriad…
Thanks to a degenerative retinal eye disease, I’ve lived on pretty much every notch of the sight-blindness continuum. While going blind super slowly I’ve engaged with the science of seeing and not-seeing as an academic and artist for about 25 years. I like to say that there are as many ways of being blind as there are of being sighted, there are just fewer of us. Besides teaching literature and humanities courses at NYU, I’ve lectured on art, accessibility, technology, and disability at universities and institutions around the country. I love sharing stories about the brain on blindness, and hope you find my recommendations as fascinating as I do.
If the word “echolocation” pricked up your ears in my previous recommendation, I think you’ll love this book which is both a biography and a deep dive into how one blind person used the senses he had to become the first person to go around the world. James Holman (1786-1857) lost his sight at the age of 25 while he was an officer in the British Royal Navy. His career was cut short and he refashioned himself as an author and adventurer known as the “blind traveler.” Roberts explains how Holman used his gentleman’s walking stick not only to detect obstacles and level changes in his immediate environment, but also used the sound of the metal tip bouncing off objects to guide him through far-flung regions of the world.
He was known simply as the Blind Traveler -- a solitary, sightless adventurer who, astonishingly, fought the slave trade in Af-rica, survived a frozen captivity in Siberia, hunted rogue elephants in Ceylon, and helped chart the Australian outback. James Holman (1786-1857) became "one of the greatest wonders of the world he so sagaciously explored," triumphing not only over blindness but crippling pain, poverty, and the interference of well-meaning authorities (his greatest feat, a circumnavigation of the globe, had to be launched in secret). Once a celebrity, a bestselling author, and an inspiration to Charles Darwin and Sir Richard Francis Burton,…
I first read about Helen Keller when I was in 4th grade. When I took swimming, I had two classmates who were blind like Stevie Wonder because they had been born premature and placed in oxygen-enriched incubators. I became curious about what it was like to live in a dark world. I walked around my house and neighborhood with my eyes closed, learning my way around. I gave a book report to my class about Helen Keller’s autobiography, and my classmates became excited about her, too. I learned to read braille, and proofread books for the blind when I was in junior high. I also learned the deaf sign language hand positions.
Helen Keller became blind and deaf at the age of 19 months. She was just learning how to talk. Suddenly her world became dark and quiet.
This book gives a sense of what that must have been like. It dramatizes her exciting discovery that things have names, that communication is possible. The book shows how Helen sought an education and learned to support herself despite being blind and deaf.
She comforted soldiers who returned from war, suddenly blind or deaf. She showed the world that “We do not think with eyes and ears, and our capacity for thought is not measured by five senses.”
A heartwarming portrait of an unforgettable woman by the critically acclaimed author of Abe's Honest Words and Martin's Big Words.
This picture book biography is an excellent and accessible introduction for young readers to learn about one of the world’s most influential luminaries. With her signature style of prose laced with stirring quotes, Doreen Rappaport brings to life Helen Keller’s poignant narrative. Acclaimed illustrator Matt Tavares beautifully captures the dynamism and verve of Helen Keller’s life and legacy, making Helen's Big World an unforgettable portrait of a woman whose vision for innovation and progress changed America—and the world—forever.
As a creative writer, I think it is important for me to put myself into the bodies and minds of people, unlike myself, and imagine how they move about in the world. In my book, I write about Blind Tom, a person from the nineteenth century who has little in common with me. However, there are some affinities and connections between Tom and myself. Although I am not blind, I suffer from a disability. Also, I like writing about music and musicians. I chose to write about Tom in part because he was a great musician who has never received the proper credit he deserves from musicologists and historians.
I think Helen Keller is one of the most fascinating and brilliant individuals in human history. In this book, she shows and tells us what it is like to be a person who cannot see, hear, or speak. I find the book quite moving. Some readers will be familiar with the biopics that have been made about Heller. Take my word these movies don’t offer the pleasure of reading Keller’s story.
These poetic, inspiring essays offer insights into the world of a gifted woman who was deaf and blind. Helen Keller relates her impressions of life's beauty and promise, perceived through the sensations of touch, smell, and vibration, together with the workings of a powerful imagination. The World I Live In comprises fifteen essays and a poem, "A Chant of Darkness," all of which originally appeared in The Century Magazine. These brief articles include "The Seeing Hand," "The Hands of Others," "The Power of Touch," "The Finer Vibrations," "Smell, the Fallen Angel" "Inward Visions," and other essays. "Optimism," written while Keller…
As children, my brother and I were constant playmates. He was an early riser and often woke me up so our day of play could begin as soon as possible. I have sight, and my brother is blind. Play for us was an all-senses experience. We felt the rumble of our bikes on the street, listened to the screech of the metal swing set, and guessed spices by their smell. We also devoured stories. We listened to audiobooks, he read to me in Braille, and I read to him. All of these experiences, and more, prepared me to be an author of numerous children’s books with sensory details to make stories come alive.
I love this story for its simple language that recreates a walk through the city.
The main character uses a white cane, a simple indication that she is blind. Focusing on the sounds, both loud and quiet, the story lets readers soak in the atmosphere surrounding a young girl on her way to a violin recital. The illustrations, created in textured paper collage, are as layered as the words.
A young girl, who is visually impaired, finds much to celebrate as she explores the city she loves.
A young girl and her father spend a day in the city, her city, traveling to the places they go together: the playground, the community garden, the market, an outdoor concert. As they do, the girl describes what she senses in delightfully precise, poetic detail. Her city, she says, “rushes and stops, and waits and goes.” It “pitters and patters, and drips and drains.” It “echoes” and “trills,” and is both “smelly” and “sweet.” Her city also speaks, as it “dings and…
Creativity is a practical, problem-solving, risk-taking endeavor, something we all do, whether we claim it or not. After working for many years with groups of graduate business students, artists, writers, business professionals, women in recovery, men in prison, with those just discovering their creative ability—and with myself and my own creative journey, I realize the question isn’t “Am I creative?” The question is “Am I using it?” or “Am I continuing to grow?” Nothing is more exciting than watching others as they realize just how creative they are.
While not a book explicitly about creativity, it opened my eyes to how our brains work, how we can make them work better, and what we’re just going to have to live with. For instance, “multi-tasking” is really a myth—some brains just switch from one task to another faster and women are better at that than men, something rooted in our evolutionary development. And our brains are hardwired for movement, particularly walking. Developmental neurobiologist Medina offers plenty of food for creative brains.
Most of us have no idea what's really going on inside our heads. Yet brain scientists have uncovered details every business leader, parent, and teacher should know--like the need for physical activity to get your brain working its best. How do we learn? What exactly do sleep and stress do to our brains? Why is multi-tasking a myth? Why is it so easy to forget--and so important to repeat new knowledge? Is it true that men and women have different brains? In Brain Rules, Dr. John Medina, a molecular biologist, shares his lifelong interest in how the brain sciences might…
I am an award-winning author of picture books and early readers. I have set my stories in many kinds of locations, including a haunted house, an Eastern European shtetl, an English Renaissance village, and a working cattle ranch. ForWake Up, City, I turned to the setting I know best, the city. I drew on memories of walking to kindergarten in early morning Brooklyn. This book is my love song to cities everywhere. As a lifelong city dweller, I worry about the impact of urban spread on the planet, but I feel hopeful, too, because many cities are becoming more nature and wildlife-friendly. The books I'm excited to share celebrate city wildlife.
Told in lyrical language, two children wander through their city, looking for “wild” and finding it in motion, size, sounds, touch, and smell.“It leaps and pounces and shows its teeth.” The words dance around, hinting at flora and fauna, using adjectives and verbs to suggest and evoke. This journey arouses awareness of the natural world that lives all around us in the city. Young readers will enjoy guessing what is being hinted at. This is such an original way to talk about the urban wild!
A lovely, lyrical picture book with gorgeous illustrations that explores the ways the wild makes itself known to us and how much closer it is than we think.
There are so many places that wild can exist, if only you know where to look! Can you find it? Two kids set off on an adventure away from their urban home and discover all the beauty of the natural world. From the bark on the trees to the sudden storm that moves across the sky to fire and flowers, and snowflakes and fresh fruit. As the children make their way through…
My passion for ancient history and archaeology began in secondary school when I started learning Latin and we were taken on a field trip to Fishbourne Roman Palace. By the time I started my MA at Bristol, my obsession with ancient Roman housing was well and truly established, and it quickly became clear to me that this was the area that I wanted to study for my PhD. Now as an Associate Professor in Ancient History and Archaeology at Royal Holloway, University of London, I have been very lucky to study and teach a range of areas in ancient history and archaeology, including my beloved area of the Roman domestic realm.
Hamilakis’s Archaeology and the Senses was one of the first books I read when starting to explore multisensory history, and it totally altered my view of how we study the past.
Focusing on Bronze-Age Crete, Hamilakis examines how archaeology has engaged with the bodily senses thus far and critiques its emphasis on sight and the traditional hierarchy of the five senses in the west.
Moreover, he proposes an innovative and exciting means by which archaeology can move beyond its focus on visual experiences of artefacts, environments, and materials to bring in lost and neglected, yet just as important, bodily senses such as sound, smell, taste, and touch.
Through this approach to archaeology he seeks to evoke a deeper, richer insight into the breadth of human experience in past societies.
This book is an exciting new look at how archaeology has dealt with the bodily senses and offers an argument for how the discipline can offer a richer glimpse into the human sensory experience. Yannis Hamilakis shows how, despite its intensely physical engagement with the material traces of the past, archaeology has mostly neglected multi-sensory experience, instead prioritising isolated vision and relying on the Western hierarchy of the five senses. In place of this limited view of experience, Hamilakis proposes a sensorial archaeology that can unearth the lost, suppressed, and forgotten sensory and affective modalities of humans. Using Bronze Age…
