Here are 100 books that The Myth Gap fans have personally recommended if you like
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I have been fascinated by the weather since as a schoolboy I avidly followed the cricket scores and the fate of tomorrow’s match. This co-dependence of my passion for cricket with the state of the weather turned into a professional career as, first, a research scientist and then later a professor of geography, I studied the idea of climate and the many ways in which it intersects with our social, ecological and imaginative worlds. As human-caused climate change became a defining public and political issue for the new century, my interests increasingly focused on understanding why people think so differently about the climate, its changes, its future trajectory—and what to do about it.
People make sense of their experience of the world through the stories they tell each other. These stories bind people together into social formations. This is as true for climate change as it is for many other bewildering or unsettling phenomenon. Lejano and Nero start from this premise and show how the narrative of climate skepticism has been able to forge a social movement and stake a challenge to the hegemony of the larger community of scientists on what is regarded (falsely) as a matter of science. Using narrative and discourse analysis, richly illustrated with examples, the book takes the reader on a journey, across times and places and social realms; throughout, the power of narrative is revealed, making believers, or skeptics, of us all.
There is an ideological war of words waging in America, one that speaks to a new fundamentalism rising not just within the American public, but across other ideologically-torn nations around the globe as well. At its heart is climate skepticism, an ideological watershed that has become a core belief for millions of people despite a large scientific consensus supporting the science of anthropogenic climate change. While many scholars have examined the role of lobbyists and conservative think tanks in fueling the climate skepticism movement, there has not yet been a systematic analysis of why the narrative itself has resonated so…
I have been fascinated by the weather since as a schoolboy I avidly followed the cricket scores and the fate of tomorrow’s match. This co-dependence of my passion for cricket with the state of the weather turned into a professional career as, first, a research scientist and then later a professor of geography, I studied the idea of climate and the many ways in which it intersects with our social, ecological and imaginative worlds. As human-caused climate change became a defining public and political issue for the new century, my interests increasingly focused on understanding why people think so differently about the climate, its changes, its future trajectory—and what to do about it.
Too often, climate change debates reduce to throwing around scientific facts – how much warming, how soon will it happen, how many people will it affect, and so on. Candis Callison recognises that such arguments don’t get us very far when deciding what to do. There are different types of facts. In this book she shows why the facts about climate change that really matter in different human worlds – in corporations, in religious groups, amongst journalists, in village communities – are social facts; these are shared ‘facts’ about what climate change means to different social formations. And it is through these diverse communal facts that climate change comes to matter.
During the past decade, skepticism about climate change has frustrated those seeking to engage broad publics and motivate them to take action on the issue. In this innovative ethnography, Candis Callison examines the initiatives of social and professional groups as they encourage diverse American publics to care about climate change. She explores the efforts of science journalists, scientists who have become expert voices for and about climate change, American evangelicals, Indigenous leaders, and advocates for corporate social responsibility.
The disparate efforts of these groups illuminate the challenge of maintaining fidelity to scientific facts while transforming them into ethical and moral…
I have been fascinated by the weather since as a schoolboy I avidly followed the cricket scores and the fate of tomorrow’s match. This co-dependence of my passion for cricket with the state of the weather turned into a professional career as, first, a research scientist and then later a professor of geography, I studied the idea of climate and the many ways in which it intersects with our social, ecological and imaginative worlds. As human-caused climate change became a defining public and political issue for the new century, my interests increasingly focused on understanding why people think so differently about the climate, its changes, its future trajectory—and what to do about it.
For too long, too many earnest people have believed that the key to untying the Gordian knot of climate change lay in science—more science, better science, more precise science, more consensual science. In this beautifully written book, Smith and Howe decisively expose this belief as false. Culture, not science, shapes public perceptions of climate change. The key to acting in the world is to be found in understanding the different ways in which the social drama that is climate change is made meaningful to people. This book is an important read for climate scientists, policy advisors, and activists alike.
Climate change is not just a scientific fact, nor merely a social and political problem. It is also a set of stories and characters that amount to a social drama. This drama, as much as hard scientific or political realities, shapes perception of the problem. Drs Smith and Howe use the perspective of cultural sociology and Aristotle's timeless theories about narrative and rhetoric to explore this meaningful and visible surface of climate change in the public sphere. Whereas most research wants to explain barriers to awareness, here we switch the agenda to look at the moments when global warming actually…
I have been fascinated by the weather since as a schoolboy I avidly followed the cricket scores and the fate of tomorrow’s match. This co-dependence of my passion for cricket with the state of the weather turned into a professional career as, first, a research scientist and then later a professor of geography, I studied the idea of climate and the many ways in which it intersects with our social, ecological and imaginative worlds. As human-caused climate change became a defining public and political issue for the new century, my interests increasingly focused on understanding why people think so differently about the climate, its changes, its future trajectory—and what to do about it.
This book examines the idea of climate change from an unconventional standpoint and that says something new and surprising about a topic that has been endlessly written about. Co-written by four literary scholars—hailing from the UK, Germany, the USA and France—it takes seriously the phenomenon of climate scepticism and seeks to understand it by dissecting literary texts originating in these four national cultures. They use the power of literary analysis to turn the question, “Who is a climate sceptic?” into a much more profound and uncomfortable one, “Where within you does your climate scepticism reside?”
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com.
Climate Change Scepticism is the first ecocritical study to examine the cultures and rhetoric of climate scepticism in the UK, Germany, the USA and France. Collaboratively written by leading scholars from Europe and North America, the book considers climate skeptical-texts as literature, teasing out differences and challenging stereotypes as a way of overcoming partisan political paralysis on the most important cultural debate of our time.
For thirty-five years I’ve studied and written about consciousness, the evolution of the mind, and the development of human social and cultural forms. I think we’re all fascinated by who we are and why we have minds. In my case, that fundamental question, which we must all answer in some way during our lives, has become a drive to bridge our theory of consciousness with a full description of the human condition. I believe we cannot progress ethically without such a bridge. Although in my novels I don’t usually write explicitly on such themes, they’re always present, providing the framework in which my characters live their lives.
I remember reading this slim volume for the first time and being amazed by its clarity. For elegance and power of explanation, it is impossible to beat. For me, it was the bridge between my understanding of the individual human mind and minds in societies and in culture—especially ancient and prehistoric societies. I have always been fascinated by the evolution of the mind, and books that dare to deal with that topic are rare indeed. This one stunned me with its sophisticated descriptions of the types of myth we use throughout our lives, a sophistication matched with clarity of vision rarely put down on paper. It has always been a profound inspiration to the themes of my novels.
As long as we have been human, we have been mythmakers. In A Short History of Myth, Karen Armstrong holds up the mirror of mythology to show us the history of ourselves, and embarks on a journey that begins at a Neanderthal graveside and ends buried in the heart of the modern novel.
Surprising, powerful and profound, A Short History of Myth examines the world's most ancient art form - the making and telling of stories - and why we still need it.
The Myths series brings together some of the world's finest writers, each of whom has retold a…
Jordanna Max Brodsky is the author of the Olympus Bound trilogy, which follows the Greek goddess Artemis as she stalks the streets of modern Manhattan, and The Wolf in the Whale, a sweeping epic of the Norse and Inuit. Jordanna holds a degree in History and Literature from Harvard University, but she maintains that scholarship is no substitute for lived experience. Her research has taken her from the summit of Mount Olympus to the frozen tundra of Nunavut, and from the Viking ruins of Norway to Artemis’s temples in Turkey.
The Oxford Companionis an encyclopedia, not a narrative, but I love that it includes stories from the Bible, the Quran, and other sacred texts alongside fantastical legends that span the globe. The line between myth and religion is, after all, largely subjective. King David, the nymph Daphne, and the Dayak myths of Borneo all share the same page. For those of us seeking inspiration in myth, the Oxford Companionoffers ideas from Abraham to Ziusudra.
Cave paintings at Lascaux, France and Altamira, Spain, fraught with expression thousands of years later; point to an early human desire to form a cultural identity. In The Oxford Companion to World Mythology, David Leeming explores the role of mythology, or myth-logic, in history and determines that the dreams of specific cultures add up to a larger collective story of humanity. Stopping short of attempting to be all-inclusive, this fascinating volume will nonetheless be comprehensive, opening with an introduction exploring the nature and dimensions of myth and proposing a definition as a universal language. Briefly dipping into the ways our…
I like history. I also like myth. And I revere the imagination, the liberal use of which can lead to what many call “fantasy.” Though the portions change, almost all the fiction I’ve written—from The Chess Garden to John the Baptizer to my latest, The Unknown Woman of the Seine—is the product of this recipe. Some moment from the past captures my attention, digs its hooks in, invites research, which begets questions, which beget answers that only the imagination can provide, informed both by experience and by the oldest illustrations of why we are the way we are. Dice these up, let simmer until you’re not sure which is which, and serve.
Another story we discuss in my mental health and literature class, and easily found in any collection of Dostoevsky, The Dream of the Ridiculous Man recounts one desperate and momentous night in the life of the titular depressive and proto-absurdist. His experience revolves around a faith-restoring dream in which (spoiler alert) the narrator shoots himself, is buried alive, pulled from the grave by a black angel, then flown through outer space to an alternate sun with an alternate earth where the local population is enjoying a shamelessly Edinic existence—that is, until the narrator contaminates them with his ego, causing them all to fall from grace, the description of which provides Dostoevsky the opportunity to recap the whole of human history in roughly three pages. Accurately no less. It’s a bravura performance.
One reason I became a professor of humanities, teaching subjects like film, theater, and literature, was to share my enthusiasm for the great works of imagination which have inspired people for centuries. Stories shape our lives and pass on our most important values and beliefs to future generations. In my academic career, I have directed plays and have written two novels, but teaching film has been my major passion for the last several years.
This popular text on screenwriting relates films to narrative ideas found in ancient myths around the world.
Vogler does an excellent job in demonstrating how films often use elements of plot and character that have proven to be universal characteristics of stories for centuries. He applies these concepts not only to fantasy films but standard Hollywood dramas such as Titanic.
Originally an influential memo Vogler wrote for Walt Disney Animation executives regarding The Lion King, The Writer’s Journey details a twelve-stage, myth-inspired method that has galvanized Hollywood’s treatment of cinematic storytelling. A format that once seldom deviated beyond a traditional three-act blueprint, Vogler’s comprehensive theory of story structure and character development has met with universal acclaim, and is detailed herein using examples from myths, fairy tales, and classic movies. This book has changed the face of screenwriting worldwide over the last 25 years, and continues to do so.
I’m probably too dishonest to write a real non-fiction book, but the sort of non-fiction book that has some wiggle room for me to “improve” on reality when I think it needs tightening up, or a little more schmaltz—that’s the strange twilight area the books I write live in, and all irresponsible history books dwell in this neighborhood. Remember, kids, as long as you make it clear when you’re lying, it still counts as non-fiction!
GdS and HvD have assembled in this book such an overwhelming superflux of fascinating tidbits about ancient history, literature, and myth that reading it you barely notice that every conclusion they come to is completely bonkers and necessarily false.
There really can’t be any connection between ancient civilizations in Polynesia, Mesoamerica, India, and Finland—but the fact that someone dug up stories about whirlpools (!) from each place and located points of convergence among them is amazing! I feel like such a killjoy even bringing up my objections (that cloud doesn’t really look like a castle! that Rorschach blot doesn’t really look like your mother!) that I’ll just shut up. Hamlet’s Mill is a great work of science fiction, the most exhaustively detailed what if? you’re likely to find.
A truly seminal and original thesis, this is a book that should be read by anyone interested in science, myth, and the interactions between the two. In this classic work of scientific and philosophical inquiry, the authors track world myths to a common origin in early man's descriptions of cosmological activity, arguing that these remnants of ancient astronomy, suppressed by the Greeks and Romans and then forgotten, were really a form of pre-literate science. Myth became the synapse by which science was transmitted. Their truly original thesis challenges basic assumptions of Western science and theories about the transmission of knowledge.
I was an avid reader of science fiction as a teenager and developed a love of science and how elegantly and yet how alive and ever-changing it is as we learn more. It explains the world. I couldn’t settle on any one field: physics, biology, neuroscience, astronomy, geology? So I began a writing career where I could draw on my faithful reading of Science News and popular science books. Scientific inaccuracies in fiction still irritate me (don’t get me started), and to the best of my ability Ι ground stories in what we know with some confidence, though science will always be a moving target. My recent book, Mixed Harvest, embeds fiction in archaeology and anthropology.
A controversial, scholarly attempt at synthesizing and organizing the foundations of world mythologies may seem a strange selection. It’s certainly an enormous task, and Witzel could be wrong, but this sweeping book tantalizes and enriches any open mind with an interest in mankind’s story on Earth: two great separate migrations out of Africa carried differing concepts of the world’s origins. The first made its way around India to Australia. In this story, the world had no origin, it always existed in Dreamtime. Mankind emerged into time and joined all creatures and their landscapes. The second migration into Europe and Asia brought the foundations of Western traditions. The story is more familiar: an all-powerful deity created the world out of chaos or primordial waters, fashioned and breathed life into human beings, and thrust them into a world of constant struggle and conflict. If for some reason that doesn't sound familiar, reread…
In this comprehensive book Michael Witzel persuasively demonstrates the prehistoric origins of most of the mythologies of Eurasia and the Americas ('Laurasia'). By comparing these myths with others indigenous to sub-Saharan Africa, Melanesia, and Australia ('Gondwana Land') Witzel is able to access some of the earliest myths told by humans. The Laurasian mythologies share a common story line that dates the world's creation to a mythic time and recounts the fortunes of generations of deities across four or five ages and human beings' creation and fall, culminating in the end of the universe and, occasionally, hope for a new world.…
