Here are 100 books that The Sight of Death fans have personally recommended if you like
The Sight of Death.
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Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
Any marriage can fall apart. We can become lost to each other. But we can also re-find each other.
In many ways, a marriage is constantly a remarriage. The philosopher Stanley Cavell, my Ph.D. advisor at Harvard, wrote a brilliant book about what he calls the remarriage comedies of the late 30s and early 40s.
The films are great on their own—The Philadelphia Story, The Awful Truth, etc—, but their power and wisdom becomes part of a profound philosophical conversation through Cavell’s inquiry and voice. My own book explores love and marriage in resonant, but different ways.
During the '30s and '40s, Hollywood produced a genre of madcap comedies that emphasized reuniting the central couple after divorce or separation. Their female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell names this new genre of American film-"the comedy of remarriage"-and examines seven classic movies for their cinematic techniques and for such varied themes as feminism, liberty, and interdependence.
Included are Adam's Rib, The Awful Truth, Bringing Up Baby, His Girl Friday, It Happened One Night, The Lady Eve, and The Philadelphia Story.
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
A photograph gives me the form of the bird, but it remains up to me to see the bird as a bird. And that can be difficult. What do we see when we see a bird?
The Peregrine, J. A. Baker’s masterpiece of descriptive prose, provides an answer, an answer that is as much about how we see as it is about what we see when we see birds. Sometimes we pull ourselves into the sight of others and the world emerges as more than its light. We see by being seen.
Baker achieves this kind of seeing both in his efforts to see a pair of peregrines and in his description of this achievement.
David Attenborough reads J. A. Baker's extraordinary classic of British nature writing.
The nation's greatest voice, David Attenborough, reads J. A. Baker's extraordinary classic of British nature writing, The Peregrine.
J. A. Baker's classic of British nature writing was first published in 1967. Greeted with acclaim, it went on to win the Duff Cooper Prize, the pre-eminent literary prize of the time. Luminaries such as Ted Hughes, Barry Lopez and Andrew Motion have cited it as one of the most important books in twentieth-century nature writing.
Despite the association of peregrines with the wild, outer reaches of the British Isles,…
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
Events that happen to us can damn us or liberate us. We will not always know which.
Stories can help show these events and their consequences, even if they might not give them any real or acceptable meaning. But our descriptions of these events can help us see our life amidst the powers of the events. Heda Margolius Kovaly offers an admirable and brilliant example in her memoir Under a Cruel Star.
The memoir is a remarkable achievement of clarity, focus, and wisdom. Her life is more than that.
Heda Margolius Kovaly's memoir of the crisis of modern Czech history recounts the tragedies and terrors in the life of a young Jewish woman, beginning with the Nazi invasion and her deportation to Auschwitz. She eventually returned to Prague, where she took part in the May 1945 uprising.
The postwar years brought hardship and fears of a new kind under Stalinism. She poignantly recounts the arrest of her husband, his conviction in the infamous 1952 Slansky trial, and his execution. Kovaly proceeds to fill in the colorless years that marked Czechoslovakia until 1968, ending on the bittersweet note that was…
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
I could suggest any number of poems and poets of our everyday fate of being lost and found. But for me the modern poet who best integrates the eye seeing with the mind questioning is the great A.R. Ammons.
I have listed just Volume 1 of his collected poems, but I also recommend Volume 2. He writes out of a consciousness that poems are found and shaped out of a life of observation, effort, and passion.
A.R. Ammons produced some of the twentieth century's most innovative and enduring poetry, collected here for the first time in its entirety. Volume I follows Ammons's development through his National Book Award-winning Collected Poems 1951-1971 and his daring work of the 1970s. The second volume rounds out Ammons's rich middle phase and startling later work, including the posthumously published Bosh and Flapdoodle.
The Complete Poems of A.R. Ammons offers authoritative texts of every published poem and includes over one hundred previously uncollected poems by "unquestionably among the best-loved poets of our time" (David Lehman).
I have always enjoyed looking at art, and love it when I can help others to enjoy it too. Curators and academics are incredibly knowledgeable, but sometimes theory gets in the way, and academic precision can lead to turgid texts. I’d rather write in a way that is as simple as possible – without being condescending – and so help people to understand art more fully. That’s why I love it when exhibitions bring art together in new ways, encouraging us to look afresh at familiar images, or startling us with something we haven’t seen before.
It’s hard to love every artist – we all have different tastes – and I have always had problems with the apparently dry and academic art of Nicolas Poussin. That is, until I saw the exhibition Poussin and the Dance. Not only does it show a more relaxed side to this apparently reserved man, reveling in the fluidity and intimacy of movement, but as an exhibition it was perfectly formed. Every object, whether painting, drawing, sculpture, or vase, had a reason to be there, and each was informed by its presence with the others: a true conversation between artworks that you could enjoy and from which you could learn. And of course, the clarity of the minds which brought these exhibits together is also evident in the writing of the catalogue.
Richly illustrated and engagingly written, this publication examines how the pioneer of French classicism brought dance to bear on every aspect of his artistic production.
Scenes of tripping maenads and skipping maidens, Nicolas Poussin’s dancing pictures, painted in the 1620s and 1630s, helped him formulate a new style. This style would make him the model for three centuries of artists in the French classical tradition, from Jacques-Louis David and Edgar Degas to Paul Cézanne and Pablo Picasso.
Poussin and the Dance, the first published study devoted to this theme, situates the artist in seventeenth-century Rome, a city rich with the…
Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.
If Brecht is my nature, so are Cézanne’s paintings. Clark understands Cézanne better than anyone else (and there is a vast literature on Cézanne). Was Cézanne a “political” artist? Clark shows that Cézanne—the pillar of modern art—thought seriously about painting his world. And his world was changing, mostly for the worse.
Part of that change involved two-dimensional pictures (literally and figuratively) altering our environment. Cézanne takes the flattening of experience as his subject; that’s Clark’s point—and we’ll never see Cézanne the same way again.
A penetrating analysis of the work of one of the most influential painters in the history of modern art by one of the world's most respected art historians.
For more than a century the art of Paul Cezanne was held to hold the key to modernity. His painting was a touchstone for Samuel Beckett as much as Henri Matisse. Rilke revered him deeply, as did Picasso. If we lost touch with his sense of life, they thought, we lost an essential element in our self-understanding.
Mark Schroeder is the author of six books and nearly one hundred articles in philosophy, many of them concerned with the role of reasons in metaethics and moral explanations. Three of his articles have been honored by the Philosophers’ Annual as among the ten best philosophy articles published in their year, and one received the APA article prize as the best paper published in all of philosophy in 2008 or 2009. His former Ph.D. students now teach philosophy on five continents.
There are a lot of great books about metaethics and a lot of great books about reasons, but this book nabs my top recommendation because Smith makes the topics so deceptively easy to get into and start thinking about. This is the book that I wrote my undergraduate senior thesis on that got me into studying and writing about philosophy for a living, and it is also one of the key books that everyone in my generation in my field grew up thinking about and reacting to. It also has a great balance between an overarching project that spans all of the chapters and some pretty self-contained discussions, especially in the earlier chapters, that helps the reader to focus on one question at a time while also getting a glimpse of how philosophical questions can add up to something bigger.
This acclaimed volume offers a systematic introduction to and striking analysis of the central issues animating current debate in moral philosophy. It will be of interest to anyone with a serious interest in the philosophical foundations of ethics. Topics discussed in this book include: realist vs anti-realist accounts of moral truth; cognitivist vs expressivist accounts of moral judgement; internalist vs externalist accounts of the relation between moral judgement and the will; Humean vs anti-Humean theories of motivation; and the debate between those who think that morality is a system of hypothetical imperatives and those who think that moral requirements are…
I discovered philosophy while still in high school and was lucky to study with some of the most exciting philosophers of the twentieth century in college and graduate school. I then taught philosophy in several of America’s great universities for fifty years myself. I have been fascinated by the philosophy of Kant since my first year of college and I gradually came to see Kant’s theory of the value of freedom as the core of his philosophy and a reason to devote a lifetime to studying it. I hope you will find these books as illuminating and rewarding as I have.
In the first two sections of Groundwork, Kant derives his great idea that humanity must always be treated as an end and never merely as a means from both common-sense and more abstract philosophy. These are the most inspirational pages in all of modern philosophy.
There are many translations of Kant’s book, but in the Cambridge University Press volume of Kant, Practical Philosophy (1996), one can also read Kant’s application of his basic idea to personal and political morality. He remains a valuable guide even in our troubled times.
Now in a new, affordable edition with updated notes, a superbly readable translation of Kant's classic work
This work, one of the most important texts in the history of ethics, presents Immanuel Kant's conception of moral self-government based on pure reason. It has been a source of controversy and an object of reinterpretation for over two centuries. This new edition of Kant's work provides a fresh translation that is uniquely faithful to the German original and more fully annotated than any previous translation. The editor and translator, Allen Wood, has written a new introduction.
In my writing about science, I am always keen to include the artistic and literary dimension that links the science to the broader culture. In Huygens, a product of the Dutch Golden Age, I found a biographical subject for whom it would have been quite impossible not to embrace these riches. This context – including painting, music, poetry, mechanics, architecture, gardens, fashion and leisure – is crucial to understanding the life that Huygens led and the breakthroughs he was able to make.
Baruch Spinoza was the philosophical flower of the Dutch Golden Age. Bertrand Russell called him the "noblest and most lovable of the great philosophers", and I am certainly not going to disagree. Like many of the innovators of the Golden Age, his ideas still seem fresh. Expelled from his Jewish community in Amsterdam for his ‘heresies’, we now find his conception of God as nature highly congenial. We probably share his dislike of ritual and perhaps aspire to his renunciation of materialism. His advice neither to fear nor to hope when it concerns things we can do nothing about is as good now as it was when it appeared in his most famous work, Ethics, in 1677.
Spinoza’s philosophy is hard to approach in the original – his arguments are rigorously constructed in the style of ancient Greek mathematics proofs. But Steven Nadler, as well as producing a towering biography…
From Pulitzer Prize-finalist Steven Nadler, an engaging guide to what Spinoza can teach us about life's big questions
In 1656, after being excommunicated from Amsterdam's Portuguese-Jewish community for "abominable heresies" and "monstrous deeds," the young Baruch Spinoza abandoned his family's import business to dedicate his life to philosophy. He quickly became notorious across Europe for his views on God, the Bible, and miracles, as well as for his uncompromising defense of free thought. Yet the radicalism of Spinoza's views has long obscured that his primary reason for turning to philosophy was to answer one of humanity's most urgent questions: How…
I’m a philosopher who has spent much of the past 30 years writing about Adam Smith—widely considered one of the first theorists of empathy. One consequence of spending all that time on Smith is that I came to see how much empathy infused even his work on economics (he is for one thing the first theorist ever to write empathetically about the lives of the poor). I’ve become as a result something of a crusader on behalf of the importance of bringing empathy into social science and policy-making today. Understanding people’s perspectives from within is essential to figuring out who they are and what they need.
This is one of the most imaginative, exciting, and accessible books of philosophy to appear in the past 25 years. Not all of it is about empathy, but one especially terrific chapter is. Fricker argues that we do people a “hermeneutical injustice” when our language and concepts leave no room for a ready way of understanding their experience (her example is how people responded to women who were sexually pressured in the workplace, before the phrase "sexual harrassment" was coined). And the cure for this problem, she says, is empathy: opening ourselves to the person telling us about their experience, and trying to feel our way into how they understood it, even if we are initially baffled by it.
In this exploration of new territory between ethics and epistemology, Miranda Fricker argues that there is a distinctively epistemic type of injustice, in which someone is wronged specifically in their capacity as a knower. Justice is one of the oldest and most central themes in philosophy, but in order to reveal the ethical dimension of our epistemic practices the focus must shift to injustice. Fricker adjusts the philosophical lens so that we see through to the negative space that is epistemic injustice.
The book explores two different types of epistemic injustice, each driven by a form of prejudice, and from…
