100 books like The Cambridge Handbook of Creativity

Leonardo da Vinci was arguably the most creative person who ever walked the earth. He is known by many as an artist but his most impressive contributions came in the form of inventions. Imagine in the fifteen hundreds conceptualizing tanks, automatic weaponry, and parachutes. He was so far ahead of his time that people thought he was crazy.

This book fascinated me because it looks at creative accomplishments through the eyes and behaviors of many of the truly creative people who have graced our planet. The book discusses what made Albert Einstein so creative and how Sigmund Freud became the father of modern psychology. I came to realize that artists like Pablo Picasso, dancers like Martha Graham, and musicians like Igor Stravinsky broke the molds as they ventured forth into novel domains and areas where others had not yet dared to tread. I also learned that personalities are very relevant to many of these creative accomplishments and that many of these personalities do not fit kindly into what societies expect. It’s not that we should attempt to emulate these personalities but that we should feel comfortable leading with our most creative thoughts and actions.

This book contains 17 chapters written by educational psychologists who have worked with creativity.  These chapters range from establishing the best conditions in organizations for creativity to occur, how to test for creativity, problem-solving and creativity, freedom, and constraint in creativity, time’s impact on creativity, how dreams and other insights influence creativity, how society influences creativity, the relevance of talent in creativity, to leadership involving creativity. The spectrum of perspectives is broad indeed and I have personally gleaned much about all the relevant domains relating to creativity from reading this book.

This is a book with various chapters written by psychologists who have studied metacognition extensively. Metacognition involves thinking about your own thinking, and psychologists all agree that it is a prime requisite to becoming creative. A creative person has to understand how his/her/their brain actually thinks. This book taught me the pitfalls in human metacognitive processes, the value of recall, the feeling of knowing or not knowing, portions of the brain responsible for various creative functions, metacognitive possibilities in older age, and metacognition’s influence on problem identification and solving. This book opened my eyes to the critical nature of metacognition to optimal human performance, and I spend significant time with my students discussing and practicing metacognition.

This book is perfect for anyone who likes to see research that supports what they believe. There’s science behind the study of creativity and Wired to Create does an excellent job explaining it. Based on psychologist Scott Barry Kaufman’s groundbreaking research, this book offers a glimpse inside the “messy minds” of highly creative people. Kaufman and Carolyn Gregoire study the latest findings of neuroscience and psychology, and the practices of well-known “creatives,” concluding that we are all, in some way, wired for creating, and everyday life presents endless opportunities to express that.

This amazing book draws on nearly one hundred interviews with creative people in every field and thirty years of research on the subject of creativity. There are multiple stories from musicians and composers while Csikszentmihalyi abstracts the common characteristics of the creative process that transcends the arts, science, architecture, and technology. He studies personalities, family backgrounds, and the environments that inspire the creative process. We learn to accept that many uniquely creative people have channeled their contributions by focusing their energy through unique structures that include conflicts, disease, handicap, stress, poverty, and emotional instability. The 426 pages of research and interviews are captivating, informative, and insightful and can inspire creative expression from new sources of understanding. 

This is one of only a few books I’ve found that looks directly at the way writers can use dream awareness in their creative practice. It’s a collection of interviews with twenty-six well-known authors compiled by dream researcher and radio-show host Naomi Epel, in which they talk about specific dreams that have inspired them and their thoughts about dreaming in general. I bought a copy to dip into on the train to London for a meeting but found it so fascinating, I abandoned my plan to do some sightseeing afterward, and made instead for the nearest bench and takeaway coffee, to spend the afternoon reading.

Hungarian-American psychologist Mihaly Csikszentmihalyi tackles a colossal question in Creativity: how do people come up with new ideas?

I love the scope of this book, which journeys from breakthroughs in science to experimentation in jazz. I love the myths the author debunks, including the out-of-nowhere “aha” moment: Ideas don’t just burst into consciousness, they emerge from a lifetime of knowledge and experience that comes before them.

And I love that Csikszentmihalyi concludes his book with a chapter about how we, his readers, can enhance our own creativity. Key takeaways: cultivate curiosity; look for surprises in the ordinary; allow yourself to sit still and reflect; create a space that nurtures your soul. 

This book demonstrates that anyone can be creative, regardless of their background, profession, or society’s definition of a creative person.

Even though the examples in the book are largely artists’ stories, Brito presents them in a way that I can apply to my career. The book inspires me to explore new ways of thinking and problem-solving. What resonated with me the most were the examples of artists who faced setbacks but transformed their approaches, ultimately achieving success.

The book also delves into the stories of well-known entrepreneurs who pivoted, providing me with inspiration for sticking with an entrepreneurial project when it gets challenging.

This ground-breaking book, written in the 1970’s, is still essential reading for anyone wishing to explore dreams as a creative resource rather than interpret them in the traditional Western psychological way. I started recalling and recording dreams in therapy nearly fifty years ago and had reached the conclusion that trying to interpret them was confusing and potentially misleading. Then I chanced on this collection of studies of different dream traditions from other parts of the world. It changed everything. If you think of dreams in a purely psychological way, this book could give you whole new perspectives.