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A House of Air
by Penelope FitzgeraldWITH AN INTRODUCTION BY HERMIONE LEE The previously uncollected occasional prose of a great English writer – full of wit, feeling and illumination.
The House of Augustus: A Historical Detective Story
by T. P. WisemanA radical reexamination of the textual and archaeological evidence about Augustus and the PalatineCaesar Augustus (63 BC–AD 14), who is usually thought of as the first Roman emperor, lived on the Palatine Hill, the place from which the word “palace” originates. A startling reassessment of textual and archaeological evidence, The House of Augustus demonstrates that Augustus was never an emperor in any meaningful sense of the word, that he never had a palace, and that the so-called "Casa di Augusto" excavated on the Palatine was a lavish aristocratic house destroyed by the young Caesar in order to build the temple of Apollo. Exploring the Palatine from its first occupation to the present, T. P. Wiseman proposes a reexamination of the "Augustan Age," including much of its literature.Wiseman shows how the political and ideological background of Augustus' rise to power offers a radically different interpretation of the ancient evidence about the Augustan Palatine. Taking a long historical perspective in order to better understand the topography, Wiseman considers the legendary stories of Rome’s origins—in particular Romulus' foundation and inauguration of the city on the summit of the Palatine. He examines the new temple of Apollo and the piazza it overlooked, as well as the portico around it with its library used as a hall for Senate meetings, and he illustrates how Commander Caesar, who became Caesar Augustus, was the champion of the Roman people against an oppressive oligarchy corrupting the Republic.A decisive intervention in a critical debate among ancient historians and archaeologists, The House of Augustus recalibrates our views of a crucially important period and a revered public space.
The House of Being (Why I Write)
by Natasha TretheweyAn exquisite meditation on the geographies we inherit and the metaphors we inhabit, from Pulitzer Prize winner and nineteenth U.S. poet laureate Natasha Trethewey “Searching and intimate, this impresses.”—Publishers Weekly In a shotgun house in Gulfport, Mississippi, at the crossroads of Highway 49, the legendary highway of the Blues, and Jefferson Street, Natasha Trethewey learned to read and write. Before the land was a crossroads, however, it was a pasture: a farming settlement where, after the Civil War, a group of formerly enslaved women, men, and children made a new home. In this intimate and searching meditation, Trethewey revisits the geography of her childhood to trace the origins of her writing life, born of the need to create new metaphors to inhabit “so that my story would not be determined for me.” She recalls the markers of history and culture that dotted the horizons of her youth: the Confederate flags proudly flown throughout Mississippi; her gradual understanding of her own identity as the child of a Black mother and a white father; and her grandmother’s collages lining the hallway, offering glimpses of the world as it could be. With the clarity of a prophet and the grace of a poet, Trethewey offers up a vision of writing as reclamation: of our own lives and the stories of the vanished, forgotten, and erased.
The House of Death: Messages from the English Renaissance
by Arnold SteinOriginally published in 1986. In The House of Death, Arnold Stein studies the ways in which English poets of the sixteenth and seventeenth centuries imagined their own ends and wrote of the deaths of those they loved or wished to honor. Drawing on a wide range of texts in both poetry and prose, Stein examines the representations, images, and figurative meanings of death from antiquity to the Renaissance. A major premise of the book is that commonplaces, conventions, and the established rules for thinking about death did not prevent writers from discovering the distinctive in it. Eloquent readings of Raleigh, Donne, Herbert, and others capture the poets approaching their own death or confronting the death of others. Marvell's lines on the execution of Charles are paired with his treatment of the dead body of Cromwell; Henry King and John Donne both write of their late wives; Ben Jonson mourns the death of a first son and a first daughter. For purposes of comparison, the governing perspective of the final chapter is modern.
The House of Fiction: From Pemberley to Brideshead, Great British Houses in Literature and Life
by Phyllis RichardsonHouses in literature have captured readers’ imaginations for centuries, from Gothic castles to Georgian stately homes, Bloomsbury townhouses and high-rise penthouses. Step on to a tour of real and imagined houses that great English writers have used to reflect the themes of their novels… houses that became like characters themselves, embodiments of the social and historical currents of their time.Phyllis Richardson takes us on a journey through history to discover how authors’ personal experiences in their homes helped to shape the imaginative dwellings that have become icons of English literature:Virginia Woolf’s love of Talland House in Cornwall is palpable in To the Lighthouse, just as London’s Bloomsbury is ever-present in Mrs Dalloway. E.M. Forster’s childhood home at Rook’s Nest mirrors the idyllic charm of Howards End. Evelyn Waugh plotted Charles Ryder’s return to Brideshead while a guest at Madresfield. Jane Austen was no stranger to a manor house or a good ballroom. And Horace Walpole’s ‘little Gothic castle’ in Twickenham inspired him to write the first English Gothic novel, The Castle of Otranto.But the English country house, from the idyllic to the unloved, is also viewed through a modern lens – Kazuo Ishiguro’s Darlington Hall, Ian McEwan’s Tallis House, Alan Hollinghurts’s Two Acres.Using historic sources, authors’ biographies, letters, news accounts, and the novels themselves, The House of Fiction presents some of the most influential houses in Britain through the stories they inspired, while offering candid glimpses of the writers who brought them to life.
House Of Mirth (Routledge Guides to Literature)
by Janet BeerEdith Wharton’s The House of Mirth (1905) is a sharp and satirical, but also sensitive and tragic analysis of a young, single woman trying to find her place in a materialistic and unforgiving society. The House of Mirth offers a fascinating insight into the culture of the time and, as suggested by the success of recent film adaptations, it is also an enduring tale of love, ambition and social pressures still relevant today. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of The House of Mirth and seeking not only a guide to the novel, but a way through the wealth of contextual and critical material that surrounds Wharton’s text.
House Of Mirth (Routledge Guides to Literature)
by Janet BeerEdith Wharton’s The House of Mirth (1905) is a sharp and satirical, but also sensitive and tragic analysis of a young, single woman trying to find her place in a materialistic and unforgiving society. The House of Mirth offers a fascinating insight into the culture of the time and, as suggested by the success of recent film adaptations, it is also an enduring tale of love, ambition and social pressures still relevant today. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of The House of Mirth and seeking not only a guide to the novel, but a way through the wealth of contextual and critical material that surrounds Wharton’s text.
The House of Percy: Honor, Melancholy, and Imagination in a Southern Family
by Bertram Wyatt-BrownThe novels of Walker Percy--The Moviegoer, Lancelot, The Second Coming, and The Thanatos Syndrome to name a few--have left a permanent mark on twentieth-century Southern fiction; yet the history of the Percy family in America matches anything, perhaps, that he could have created. Two centuries of wealth, literary accomplishment, political leadership, depression, and sometimes suicide established a fascinating legacy that lies behind Walker Percy's acclaimed prose and profound insight into the human condition. In The House of Percy, Bertram Wyatt-Brown masterfully interprets the life of this gifted family, drawing out the twin themes of an inherited inclination to despondency and an abiding sense of honor. The Percy family roots in Mississippi and Louisiana go back to "Don Carlos" Percy, an eighteenth-century soldier of fortune who amassed a large estate but fell victim to mental disorder and suicide. Wyatt-Brown traces the Percys through the slaveholding heyday of antebellum Natchez, the ravages of the Civil War (which produced the heroic Colonel William Alexander Percy, the "Gray Eagle"), and a return to prominence in the Mississippi Delta after Reconstruction. In addition, the author recovers the tragic lives and literary achievements of several Percy-related women, including Sarah Dorsey, a popular post-Civil War novelist who horrified her relatives by befriending Jefferson Davis--a married man--and bequeathing to him her plantation home, Beauvoir, along with her entire fortune. Wyatt-Brown then chronicles the life of Senator LeRoy Percy, whose climactic re-election loss in 1911 to a racist demagogue deply stung the family pride, but inspired his bold defiance to the Ku Klux Klan in the 1920s. The author goes on to tell the poignant story of poet and war hero Will Percy, the Senator's son. The weight of this family narrative found expression in Will Percy's memoirs, Lanterns on the Levee--and in the works of Walker Percy, who was reared in his cousin Will's Greenville home after the suicidal death of Walker's father and his mother's drowning. As the biography of a powerful dynasty, steeped in Sou8thern traditions and claims to kinship with English nobility, The House of Percy shows the interrelationship of legend, depression, and grand achievement. Written by a leading scholar of the South, it weaves together intensive research and thoughtful insights into a riveting, unforgettable story.
The House of Ulloa
by Emilia Pardo Bazán Paul O'PreyThis rich and unforgettable story of sexual intrigue and political scheming, written by the Spanish feminist and intellectual Emilia Pardo Bazan, deserves recognition as one of the great nineteenth-century novels. The House of Ulloa follows pure and pious Father Julián Alvarez, who is sent to a remote country estate to put the affairs of the marquis, an irresponsible libertine, in order. When he discovers moral decadence, cruelty and corruption at his new home, Julián's well-meaning but ineffectual attempts to prevent the fall of the House of Ulloa end in tragedy. The House of Ulloa is the finest achievement of Emilia Pardo Bazán, a prolific writer, feminist, traveller and intellectual, and one of the most dynamic figures of her time.Fans of Zola or Hardy will enjoy the novel's rich naturalism, which combines gothic elements with evocative descriptions of Spanish customs and the countryside. At the same time, the novel evokes the social comedy of a Dickens or Thackeray with its biting social satire, frank exposure of sexual mores, and gentle mockery of its innocent hero-priest.
The House Servant's Directory
by Graham Russell Hodges Robert RobertsRobert Roberts' The House Servant's Directory, first published in 1827 and the standard for household management for decades afterward, is remarkable for several reasons: It is one of the first books written by an African American and issued by a commercial press, and it was written while Roberts (ca. 1780-1860) was in the employ of Christopher Gore (1758-1827), a former senator from and governor of Massachusetts (and ancestor of the novelist Gore Vidal). Gore Place, where Roberts worked from 1825 to 1827, is one of the grandest neoclassical mansions built in America. Not only was the extraordinary set of recommendations that Roberts made about relations between servants and their masters unique for its time, but his many recipes for cleaning furniture and clothing and for purchasing, preparing, and serving food and drink for small and large dinners are also still useful today. As portrayed in Graham Hodges' introduction, Roberts' own story is a unique window into the work habits and thoughts of America's domestic workers and into antebellum African American politics. Of particular note is Roberts' contribution to the emergence of new self-perceptions of black manliness. Written at a time when male Americans in general were reconsidering the construction of masculinity, Roberts' advice to his fellow servants fostered black dignity for work that few felt merited respect, and his counsel to employers on proper treatment of their servants insisted on their humanity and respect for their skills.
The House Servant's Directory: A Monitor For Private Families (American Antiquarian Cookbook Collection)
by Graham Russell Hodges Robert RobertsRobert Roberts' The House Servant's Directory, first published in 1827 and the standard for household management for decades afterward, is remarkable for several reasons: It is one of the first books written by an African American and issued by a commercial press, and it was written while Roberts (ca. 1780-1860) was in the employ of Christopher Gore (1758-1827), a former senator from and governor of Massachusetts (and ancestor of the novelist Gore Vidal). Gore Place, where Roberts worked from 1825 to 1827, is one of the grandest neoclassical mansions built in America. Not only was the extraordinary set of recommendations that Roberts made about relations between servants and their masters unique for its time, but his many recipes for cleaning furniture and clothing and for purchasing, preparing, and serving food and drink for small and large dinners are also still useful today. As portrayed in Graham Hodges' introduction, Roberts' own story is a unique window into the work habits and thoughts of America's domestic workers and into antebellum African American politics. Of particular note is Roberts' contribution to the emergence of new self-perceptions of black manliness. Written at a time when male Americans in general were reconsidering the construction of masculinity, Roberts' advice to his fellow servants fostered black dignity for work that few felt merited respect, and his counsel to employers on proper treatment of their servants insisted on their humanity and respect for their skills.
The House Where My Soul Lives: The Life of Margaret Walker
by Maryemma GrahamThis first biography of poet and writer Margaret Walker (1915-98) offers a comprehensive close reading of a pillar in American culture for a majority of the 20th century. Without defining herself as a radical or even a feminist, Walker followed the precepts of both. She promoted the idea of the artist of tradition and social change, a public intellectual and an institution builder. Among the first to recognize the impact of black women in literature, Walker became a chief architect of what many have called the new Black South Renaissance. Her art was influenced early by Langston Hughes, her political understanding of the world by Richard Wright. Walker expanded both into a comprehensive view on art and humanism, which became a national platform for the center she founded in Mississippi that now bears her name. The House Where My Soul Lives provides a full account of Walker's life and new interpretations of her writings before and after the publication of her most well-known poem in the 1930s in Chicago. The book rejects the widely held view of Walker as the "angry black woman" and emphasizes what contemporary American culture owes to her decades of foundational work in what we know today as Black Studies, Women's Studies, and the Public Humanities. She was fierce in her claim to be "black, female and free" which gave her the authority to challenge all hierarchies, no matter at what cost. Featuring 80 archival photos and documents and based on never before examined personal papers and interviews with those who knew Walker personally, this book is required reading for all readers of biographies of American writers.
The House Where My Soul Lives: The Life of Margaret Walker
by Maryemma GrahamThis first biography of poet and writer Margaret Walker (1915-98) offers a comprehensive close reading of a pillar in American culture for a majority of the 20th century. Without defining herself as a radical or even a feminist, Walker followed the precepts of both. She promoted the idea of the artist of tradition and social change, a public intellectual and an institution builder. Among the first to recognize the impact of black women in literature, Walker became a chief architect of what many have called the new Black South Renaissance. Her art was influenced early by Langston Hughes, her political understanding of the world by Richard Wright. Walker expanded both into a comprehensive view on art and humanism, which became a national platform for the center she founded in Mississippi that now bears her name. The House Where My Soul Lives provides a full account of Walker's life and new interpretations of her writings before and after the publication of her most well-known poem in the 1930s in Chicago. The book rejects the widely held view of Walker as the "angry black woman" and emphasizes what contemporary American culture owes to her decades of foundational work in what we know today as Black Studies, Women's Studies, and the Public Humanities. She was fierce in her claim to be "black, female and free" which gave her the authority to challenge all hierarchies, no matter at what cost. Featuring 80 archival photos and documents and based on never before examined personal papers and interviews with those who knew Walker personally, this book is required reading for all readers of biographies of American writers.
Household knowledges in late-medieval England and France (Manchester Medieval Literature and Culture)
by Anke BernauThis collection investigates how the late-medieval household acted as a sorter, user and disseminator of different kinds of ready information, from the traditional and authoritative to the innovative and newly made. Building on work on the noble and bourgeois medieval household, it considers bourgeois, gentry and collegiate households on both sides of the English Channel. The book argues that there is a dynamic and reciprocal relationship between domestic experience and its forms of cultural expression. Contributors address a range of cultural productions, including conduct texts, romances and comic writing, estates-management literature, medical writing, household music and drama and manuscript anthologies. Their studies provide a fresh illustration of the late-medieval household's imaginative scope, its extensive internal and external connections and its fundamental centrality to late-medieval cultural production.
Household knowledges in late-medieval England and France (Manchester Medieval Literature and Culture)
by Glenn D. Burger and Rory G. CrittenThis collection investigates how the late-medieval household acted as a sorter, user and disseminator of different kinds of ready information, from the traditional and authoritative to the innovative and newly made. Building on work on the noble and bourgeois medieval household, it considers bourgeois, gentry and collegiate households on both sides of the English Channel. The book argues that there is a dynamic and reciprocal relationship between domestic experience and its forms of cultural expression. Contributors address a range of cultural productions, including conduct texts, romances and comic writing, estates-management literature, medical writing, household music and drama and manuscript anthologies. Their studies provide a fresh illustration of the late-medieval household's imaginative scope, its extensive internal and external connections and its fundamental centrality to late-medieval cultural production.
Houses, Families, and Cohabitation: Swedish Towns in the Eighteenth Century (Routledge Research in Early Modern History)
by Dag Lindström Göran TagessonThis book is an interdisciplinary study that draws on a combination of archaeological evidence, building archaeological analysis, archival sources to explore the dynamic relations between dwelling houses, social organization of households, and patterns of cohabitation during the eighteenth century.The empirical focus of this book is on Swedish towns, but it also addresses more general issues about urbanity and urban life, space and social organization, and materiality and individual agency. Aggregated questions about urban life and urban space are combined with a micro historical method revealing aspects of daily life and urban change. This study unveils a previously neglected history. Swedish eighteenth century towns have commonly been identified as a territory characterized by its sleepy absence of change. This study proves the opposite. Houses were built larger, with more diverse and complex inner structures. Family structures changed; households generally became smaller, the share of households headed by a married couple declined, and the number of single households increased. Population density increased, the number of families residing in the same house increased, and rental accommodation became more prevalent.This volume is essential reading for anyone interested in early modern housing, urban change, and interdisciplinary methods.
Houses, Families, and Cohabitation: Swedish Towns in the Eighteenth Century (Routledge Research in Early Modern History)
by Dag Lindström Göran TagessonThis book is an interdisciplinary study that draws on a combination of archaeological evidence, building archaeological analysis, archival sources to explore the dynamic relations between dwelling houses, social organization of households, and patterns of cohabitation during the eighteenth century.The empirical focus of this book is on Swedish towns, but it also addresses more general issues about urbanity and urban life, space and social organization, and materiality and individual agency. Aggregated questions about urban life and urban space are combined with a micro historical method revealing aspects of daily life and urban change. This study unveils a previously neglected history. Swedish eighteenth century towns have commonly been identified as a territory characterized by its sleepy absence of change. This study proves the opposite. Houses were built larger, with more diverse and complex inner structures. Family structures changed; households generally became smaller, the share of households headed by a married couple declined, and the number of single households increased. Population density increased, the number of families residing in the same house increased, and rental accommodation became more prevalent.This volume is essential reading for anyone interested in early modern housing, urban change, and interdisciplinary methods.
The houses of history: A critical reader in history and theory, second edition
by Anna Green Kathleen TroupThe houses of history is a clear, jargon-free introduction to the major theoretical approaches employed by historians. This innovative critical reader provides accessible introductions to fourteen schools of thought, from the empiricist to the postcolonial, including chapters on Marxist history, Freud and psychohistory, the Annales, historical sociology, narrative, gender, public history and the history of the emotions. Each chapter begins with a succinct description of the ideas integral to a particular theory. The authors then explore the insights and controversies arising from the application of this model, drawing upon debates and examples from around the world. Each chapter concludes with a representative example from a historian writing within this conceptual framework. This newly revised edition of the highly successful textbook is the ideal basis for an introductory course in history and theory for students of history at all levels.
The houses of history: A critical reader in history and theory, second edition
by Anna Green Kathleen TroupThe houses of history is a clear, jargon-free introduction to the major theoretical approaches employed by historians. This innovative critical reader provides accessible introductions to fourteen schools of thought, from the empiricist to the postcolonial, including chapters on Marxist history, Freud and psychohistory, the Annales, historical sociology, narrative, gender, public history and the history of the emotions.Each chapter begins with a succinct description of the ideas integral to a particular theory. The authors then explore the insights and controversies arising from the application of this model, drawing upon debates and examples from around the world. Each chapter concludes with a representative example from a historian writing within this conceptual framework.This newly revised edition of the highly successful textbook is the ideal basis for an introductory course in history and theory for students of history at all levels.
Houston, We Have a Narrative: Why Science Needs Story
by Randy OlsonAsk a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.
Houston, We Have a Narrative: Why Science Needs Story
by Randy OlsonAsk a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.
Houston, We Have a Narrative: Why Science Needs Story
by Randy OlsonAsk a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.
Houston, We Have a Narrative: Why Science Needs Story
by Randy OlsonAsk a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.
Houston, We Have a Narrative: Why Science Needs Story
by Randy OlsonAsk a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.
Houston, We Have a Narrative: Why Science Needs Story
by Randy OlsonAsk a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.