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.
Historian Mark Smith has written widely on the topic of understanding sensory experiences of the past.
At just over 100 pages long, his most recent book is an excellent insight into the field for both those new to it, and those who are already familiar with writing history of the senses.
Starting with an overview of the origins of sensory history and moving through to consider both the strengths and challenges of current research in this area, Smith concludes this book with a clear, accessible, and persuasive argument for future directions of work in the field.
I cannot recommend this book highly enough for anyone interested in exploring sensory history!
A Sensory History Manifesto is a brief and timely meditation on the state of the field. It invites historians who are unfamiliar with sensory history to adopt some of its insights and practices, and it urges current practitioners to think in new ways about writing histories of the senses.
Starting from the premise that the sensorium is a historical formation, Mark M. Smith traces the origins of historical work on the senses long before the emergence of the field now called "sensory history," interrogating, exploring, and in some cases recovering pioneering work on the topic. Smith argues that we are…
I am the co-author and CEO of The Wonder Weeks. I advise various global players in the field of babies and I'm a sought-after speaker at fairs and in daily exchange with mothers and fathers.
With all this knowledge I know the needs of parents and their children like no other, with my books and apps I stand for power to the parents!
This adorable book about a cheerful duck with a touch of the pages produces an irresistible crinkling sound and a shake reveals gentle rattling. Because of the fabric tabs extending from each page and the soft, fuzzy cover and cloth pages provides a big stimulation for baby fingers and senses.
A feast for baby's senses! The soft, fuzzy cover and cloth pages of the books in the Friends Cloth series feature vibrantly colored animals for baby to identify.
Parents and gift givers will find:
a fun toy for baby
a soft, washable, cloth book
a special gift!
In Duck and Friends, a cheerful duck on the cover opens to reveal a cute cat, slithery snail, and others. A touch of the pages produces an irresistible crinkling sound and a shake reveals gentle rattling. Fabric tabs extending from each page provide more stimulation for little fingers as baby rubs, squeezes, and…
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…
I’m an author, researcher, and historian writing about Tudor women. As a woman myself, I’m naturally interested in what life was like for those who came before me, and I’m very passionate about writing the lesser-known, forgotten women back into the historical narrative of the period. We all know about Henry VIII’s six wives, his sisters, and daughters, but there were other women at the Tudor court whose stories are no less fascinating.
What did Tudor England look, sound, or smell like?
This is an innovative work from Amy Licence, historian of women's lives. Using the five senses, she skilfully plunges readers into sixteenth-century England, letting us see, hear, smell, taste, and (almost) touch the Tudor world like we've never experienced it before.
Traditionally history is cerebral: what did they believe, what did they think, what did they know?
Woodsmoke and Sage is not a traditional book.
Using the five senses, historian Amy Licence presents a new perspective on the material culture of the past, exploring the Tudors' relationship with the fabric of their existence, from the clothes on their backs, the roofs over their heads and the food on their tables, to the wider questions of how they interpreted and presented themselves, and what they believed about life, death and beyond. Take a journey back 500 years and experience the sixteenth century…
My grandparents played a pivotal role in my childhood, living with us and raising my brother and me while my parents worked long hours. Some of my favorite memories of those years are lying in bed as Abuelo told me stories that made me laugh instead of making me sleepy, cooking picadillo with my abuela in the kitchen, and going on long walks along the beach with my abuelo. Though they didn’t speak to me in Spanish, they taught me to sing nursery rhymes and enticed me with sticks of Big Red gum to get me to learn how to roll my r’s.
I love mangos. I love to eat them, and I love them in smoothies! So, I was immediately drawn to this book. I found it to be beautiful and evocative. My own grandmother used to tell me about all the different fruits they ate in Cuba but she only told me the Spanish names for them as she said they didn’t exist in the US.
I love how the abuelita shows her granddaughter–who insists she doesn’t like mangos–all that the mango brings us and that we must remember to be thankful. I really love this lesson of how we have to listen to the earth and she will give back to us–a thoughtful introduction to the importance of caring for the world around us.
I love that this story teaches us to count the blessings in life and to slow down and appreciate them. I found the illustrations to be…
Abuelita teaches Carmencita that you can’t rush mango-eating: it takes five steps to appreciate the gift and feel the love.
Carmencita doesn’t want to help Abuelita pick mangoes; she doesn’t even like them! They’re messy, they get stuck in her teeth, and it’s a chore to throw out the rotten ones.
But Abuelita adores mangoes, and patiently, she teaches Carmencita the right way to eat them. Together, they listen to the tree’s leaves, feel its branches and roots above and below, and smell and feel the sweet, smooth fruits. Each step is a meditation on everything Mamá Earth has given,…
I like trying to solve problems about the mind: Is the mind just the brain? What is consciousness, and where is it in the brain? What happens in the brain during aesthetic experience? Why are we prone to self-deception? In approaching these questions, I don’t limit myself to one discipline or set of techniques. These mental phenomena, and the problems that surround them, do not hew to our disciplinary boundaries. In spite of this, someone needs to collect, analyze, and assess information relevant to the problems—which is in many different formats—and build theories designed to make sense of it. During that time, more data will become available, so back you go.
Are philosophers like detectives, in that they chase their culprit over any terrain, and follow any clue? What can count as a clue?
Given the right context, pretty much anything, a pencil placed here rather than there, a picture of a car, something someone said, a fingerprint, can count as a clue. Or are we more like technicians, like the fingerprint expert who is only allowed to look at a certain type of clue? The problem with being the fingerprint expert is that it can completely remove philosophers from their originating problems and turn them into mere technicians.
Ned Block is a detective, who has followed clues about the nature of consciousness deep into psychology and neuroscience. Here Block argues that there is a genuine distinction between seeing and thinking, and draws out the consequences of that for our theories of consciousness.
Philosopher Ned Block argues in this book that there is a "joint in nature" between perception and cognition and that by exploring the nature of that joint, one can solve mysteries of the mind. The first half of the book introduces a methodology for discovering what the fundamental differences are between cognition and perception and then applies that methodology to isolate how perception and cognition differ in format and content. The second half draws consequences for theories of consciousness, using results of the first half to argue against cognitive theories of consciousness that focus on prefrontal cortex. Along the way,…
I’ve always loved how science deepens my appreciation of nature and fills me with awe and wonder. I’ve been a science teacher, a documentary producer for National Geographic and Discovery, and the author of What's Gotten Into You: The Story of Your Body's Atoms, from the Big Bang Through Last Night's Dinner. I’m astounded by how much scientists have been able to learn about how our world works and how they have revealed surprising and strange beauty. Their stories of wrestling with the unknown, marked by unexpected twists and great perseverance, captivate and inspire me.
Any book that makes me think about the radical differences between the experiences of an elephant, robin, owl, spider, rattlesnake, and a bat is a surefire win for me. At times, I felt a shiver in my spine as I realized how other creatures see and feel the world so differently.
Yong spent time with researchers and came back with stories that I savored. Really, how any animals, including us, sense the world is a marvel. The book opened my eyes to how “alien” senses like ultrasound, electric fields, magnetism, and vibrations create other creatures’ versions of reality.
'Wonderful, mind-broadening... a journey to alternative realities as extraordinary as any you'll find in science fiction' The Times, Book of the Week
'Magnificent' Guardian
Enter a new dimension - the world as it is truly perceived by other animals.
The Earth teems with sights and textures, sounds and vibrations, smells and tastes, electric and magnetic fields. But every animal is enclosed within its own unique sensory bubble, perceiving only a tiny sliver of an immense world. This book welcomes us into previously unfathomable dimensions - the world as it is truly perceived by other animals.
I care about social justice, equality, and history, as well as beauty and art. As an African-American woman who was raised working class and who understands how history informs the present, I have fallen in love with the depiction of history in poetry and prose. Not all of my writing has something to do with race or gender or class, but all of my writing is about justice in some way. I want to get to the good of people.
These poems—most of every poem that Lee writes, really—do more than paint a picture. These poems appeal to every one of your senses. They are rich in description and you want to savor each one, sit with it, and let the poem envelop you.
I heard or read somewhere that Li-Young Lee is a slow writer, not producing a lot of work but always producing good work. I don’t know if this is true, and except for my greed of wanting to consume more of his words asap, I don’t mind that his poems are slower coming. I like to spend time with them.
I share Rose because Lee teaches me—and my students—that writers depend too much on visual imagery and fear spreading out into the other senses.
I. Epistle The Gift Persimmons The Weight Of Sweetness From Blossoms Dreaming Of Hair Early In The Morning Water Falling: The Code Nocturne My Indigo Irises Eating Alone
II. Always A Rose
III. Eating Together I Ask My Mother To Sing Ash, Snow, Or Moonlight The Life The Weepers Braiding Rain Diary My Sleeping Loved Ones Mnemonic Between Seasons Visions And Interpretations
I have found coffee, or in fact just about any aspect of it, from pour-over to espresso, to be endlessly challenging and rewarding. My first visit to coffee farms was in 2004, to Ethiopia and Kenya. Since then I’ve been to dozens of farms in nine or ten countries. There is something about coffee people; they are wondrously generous about sharing their expertise, if they think you care and if you know the right questions to ask. Before going deeply into coffee, I was a professor of history, and I've continued to publish on topics as diverse as Stalin, the witch hunts in Europe and North America, and the body in the Anglosphere, 1880-1920.
Coffee, sex, travel, exotic locales, romance, and at long last love. This novel has it all, made vivid through the story of a more or less ordinary Englishman in the late 1890s who finds that he has a remarkable talent for discovering and describing the flavors and the problems in brewed coffee. He goes to Ethiopia to learn more about coffee. There his adventures become, shall we say, quite vivid, and some remarkable twists appear. Nicely written by an international best-selling author. Used copies are really cheap. You will have fun reading this with a great cup of coffee.
It is 1895. Robert Wallis, would-be poet, bohemian and impoverished dandy, accepts a commission from coffee merchant Samuel Pinker to categorise the different tastes of coffee - and encounters Pinker's free-thinking daughters, Philomenia, Ada and Emily. As romance blossoms with Emily, Robert realises that the muse and marriage may not be incompatible after all.
Sent to Abyssinia to make his fortune in the coffee trade, he becomes obsessed with slave girl, Fikre. He decides to use the money he has saved to buy her from her owner - a decision that will change not only his own life, but the…
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…
