How did Albert Einstein's ideas shape the imaginations of twentieth-century artists and writers? Are there national differences between styles of scientific research? By what mechanisms is progress in science achieved despite the enormous diversity of individual, often conflicting, efforts?

These are just a few of the questions posed in The Advancement of Science, and Its Burdens. Gerald Holton, one of the century's leading historians of science, continues his analysis of how modern science works and how it influences our world, with particular emphasis on the role of the thematic elements--those often unconscious presuppositions that guide scientific work to success or failure. Many of the conclusions emerge from the author's extensive study of the contributions of Albert Einstein. Indeed, Holton's new introduction for this edition, "Einstein and the Cultural Roots of Modern Science," demonstrates that Einstein's daring main pursuit, the discovery of unity among seemingly disparate aspects of physics, was psychologically supported by a surprising ally: the high literary works in which he immersed himself, above all Goethe's. This case study alone may well be a classic example for studying the interaction of science and culture.

Different as they were as poets, Wallace Stevens, E. E. Cummings, Robert Frost, and Williams Carlos Williams grappled with the highly charged literary politics of the 1930s in comparable ways. As other writers moved sharply to the Left, and as leftist critics promulgated a proletarian aesthetics, these modernist poets keenly felt the pressure of the times and politicized literary scene. All four poets saw their reputations critically challenged in these years and felt compelled to respond to the new politics, literary and national, in distinct ways, ranging from rejection to involvement. 

Beleaguered Poets and Leftist Critics closely examines the dynamics of these responses: what these four poets wrote—in letters, essays, lectures, fiction (for Williams), and most importantly, in their poems; what they believed politically and aesthetically; how critics, particularly leftist critics, reviewed their work; how these poets reacted to that criticism and to the broader milieu of leftism. Each poet’s response and its subsequent impact on his poetic output is a unique case study of the conflicting demands of art and politics in a time of great social change. 

China and Albert Einstein is the first extensive study in English or Chinese of China’s reception of the celebrated physicist and his theory of relativity. Tracing the influence of Jesuit missionaries in the seventeenth century and Western missionaries and educators in the nineteenth and twentieth centuries, as they introduced key concepts of Western physical science and paved the way for Einstein’s radical new ideas, Danian Hu shows us that Chinese receptivity was fostered by the trickle of Chinese students sent abroad for study beginning in the mid-nineteenth century and by the openness of the May Fourth Movement (1916–1923).

In a series of biographical studies of Chinese physicists, Hu describes the Chinese assimilation of relativity and explains how Chinese physicists offered arguments and theories of their own. Hu’s account concludes with the troubling story of the fate of foreign ideas such as Einstein’s in the Chinese Cultural Revolution (1966–1976), when the theory of relativity was denigrated along with Einstein’s ideas on democracy and world peace.

China and Albert Einstein is an important contribution to Einstein studies and a landmark work in the history of Chinese science.

For Albert Einstein, 1905 was a remarkable year. It was also a miraculous year for the history and future of science. In six short months, from March through September of that year, Einstein published five papers that would transform our understanding of nature. This unparalleled period is the subject of John Rigden's book, which deftly explains what distinguishes 1905 from all other years in the annals of science, and elevates Einstein above all other scientists of the twentieth century.

Rigden chronicles the momentous theories that Einstein put forth beginning in March 1905: his particle theory of light, rejected for decades but now a staple of physics; his overlooked dissertation on molecular dimensions; his theory of Brownian motion; his theory of special relativity; and the work in which his famous equation, E = mc2, first appeared. Through his lucid exposition of these ideas, the context in which they were presented, and the impact they had--and still have--on society, Rigden makes the circumstances of Einstein's greatness thoroughly and captivatingly clear. To help readers understand how these ideas continued to develop, he briefly describes Einstein's post-1905 contributions, including the general theory of relativity.

One hundred years after Einstein's prodigious accomplishment, this book invites us to learn about ideas that have influenced our lives in almost inconceivable ways, and to appreciate their author's status as the standard of greatness in twentieth-century science.

Albert Einstein and J. Robert Oppenheimer, two iconic scientists of the twentieth century, belonged to different generations, with the boundary marked by the advent of quantum mechanics. By exploring how these men differed—in their worldview, in their work, and in their day—this book provides powerful insights into the lives of two critical figures and into the scientific culture of their times. In Einstein’s and Oppenheimer’s philosophical and ethical positions, their views of nuclear weapons, their ethnic and cultural commitments, their opinions on the unification of physics, even the role of Buddhist detachment in their thinking, the book traces the broader issues that have shaped science and the world.

Einstein is invariably seen as a lone and singular genius, while Oppenheimer is generally viewed in a particular scientific, political, and historical context. Silvan Schweber considers the circumstances behind this perception, in Einstein’s coherent and consistent self-image, and its relation to his singular vision of the world, and in Oppenheimer’s contrasting lack of certainty and related non-belief in a unitary, ultimate theory. Of greater importance, perhaps, is the role that timing and chance seem to have played in the two scientists’ contrasting characters and accomplishments—with Einstein’s having the advantage of maturing at a propitious time for theoretical physics, when the Newtonian framework was showing weaknesses.

Bringing to light little-examined aspects of these lives, Schweber expands our understanding of two great figures of twentieth-century physics—but also our sense of what such greatness means, in personal, scientific, and cultural terms.

Where sound speaks louder than meaning—Stevens’s poetry as a metaphysical echo.

Wallace Stevens dedicated his poetry to challenging traditional notions about reality, truth, knowledge, and the role of language as a means of representation. Rosu demonstrates that Stevens's experimentation with sound is not only essential to his poetics but also profoundly linked to the pragmatist ideas that informed his way of thinking about language. Her readings of Stevens's poems focus on revealing the dynamic through which meaning emerges in language patterns—a dynamic she calls "images of sound."

Rosu argues that the formal aspects of poetry are deeply ingrained in cultural realities and are, in fact, generated by their context. The sound pattern pervading Stevens's poems at once addresses and violates the reader's assumptions about the functioning of language and, along with them, ideas about reality, knowledge, and subjectivity. Sound is thus the starting point of an argument concerned with Stevens's epistemology and poetics—the way his poems insist on a movement past or through a normal poetic representation of the world to gesture toward a reality that lies outside or beyond systems of representation.

The relationship between sound and meaning isolated and analyzed in The Metaphysics of Sound in Wallace Stevens is firmly situated among critical debates concerning the poet's aesthetic and philosophical convictions. Rosu claims that Stevens's poetry is not ultimately about the powerlessness of language, nor is it a deconstructive enterprise of destabilizing culturally consecrated truths; rather it achieves meaning most frequently through patterns of sound. Sound helps Stevens make a deeply philosophical point in a language unavailable to philosophers.

“Vendler is a commentator almost clairvoyant...Her book ought to be read, with care and gratitude, by every reader of Stevens, for no critic before her has understood so well his major poems.”
—Harold Bloom, New York Times Book Review

A virtuosic reading of Stevens’s most difficult poems brings their austere beauty and elaborately mannered movements to life.

If “poetry is the subject of the poem,” as Wallace Stevens once declared, so too is the poet. A poet’s temperament, his attractions and repulsions, his sense of the world: all are integral to his style. And while Stevens’s short poems are perhaps his most anthologized, it is only in his longer works that we find his unique sensibilities on full display.

Tracing the great modernist’s development through fourteen poems, from “Sunday Morning” (1915) to “An Ordinary Evening in New Haven” (1949), Helen Vendler reveals the longer poems as the proving grounds where Stevens tested formal innovations and discovered his own formidable strengths. Chief among these, she argues, is a gift for equivocation. Neither ascetic nor hedonist, neither solipsist aesthete nor engaged poet of the social, Stevens “trembles always at halfway points.” He departs from his romantic forbears, deprecating the pure imagination by letting flights of poetic fancy degenerate into intentional decadence and triviality. But he finds desperate clutching at “things as they are” equally fruitless: “endless struggle with fact” is the poet’s inevitable lot. From this ambivalence springs a whole world of grammatical and syntactic innovation, from his ambiguous use of tense to the welter of qualifications that seem to thwart every affirmative declaration.

An unsurpassed classic in the canon of Stevens criticism, On Extended Wings gives us the full sweep his of his oeuvre—from the somber to the whimsical, from high stoic elegy to grotesque comedy—as no one but the brilliant Helen Vendler can.

It has already been called the scientific breakthrough of the century: the detection of gravitational waves. Einstein predicted these tiny ripples in the fabric of spacetime nearly a hundred years ago, but they were never perceived directly until now. Decades in the making, this momentous discovery has given scientists a new understanding of the cataclysmic events that shape the universe and a new confirmation of Einstein’s theory of general relativity. Ripples in Spacetime is an engaging account of the international effort to complete Einstein’s project, capture his elusive ripples, and launch an era of gravitational-wave astronomy that promises to explain, more vividly than ever before, our universe’s structure and origin.

The quest for gravitational waves involved years of risky research and many personal and professional struggles that threatened to derail one of the world’s largest scientific endeavors. Govert Schilling takes readers to sites where these stories unfolded—including Japan’s KAGRA detector, Chile’s Atacama Cosmology Telescope, the South Pole’s BICEP detectors, and the United States’ LIGO labs. He explains the seeming impossibility of developing technologies sensitive enough to detect waves from two colliding black holes in the very distant universe, and describes the astounding precision of the LIGO detectors. Along the way Schilling clarifies concepts such as general relativity, neutron stars, and the big bang using language that readers with little scientific background can grasp.

Ripples in Spacetime provides a window into the next frontiers of astronomy, weaving far-reaching predictions and discoveries into a gripping story of human ambition and perseverance.

A Physics Today Best Book of the Year
A Forbes “For the Physics and Astronomy Lover in Your Life” Selection

“Succinct, accessible, and remarkably timely… This book is a rare find.”
—Physics Today

“Belongs on the shelf of anyone interested in learning the scientific, historical, and personal stories behind some of the most incredible scientific advances of the 21st century.”
—Forbes

The detection of gravitational waves has already been called the scientific breakthrough of the century. Einstein predicted these tiny ripples in the fabric of spacetime over a hundred years ago, but they were only recently perceived directly for the first time. Ripples in Spacetime is an engaging account of the international effort to complete Einstein’s project, capture his elusive ripples, and launch an era of gravitational-wave astronomy that promises to explain, more vividly than ever before, our universe’s structure and origin.

“Schilling’s deliciously nerdy grand tour takes us through compelling backstory, current research, and future expectations.”
—Nature

“A lively and readable account… Schilling underlines that this discovery is the opening of a new window on the universe, the beginning of a new branch of science.”
—Graham Farmelo, The Guardian

Wallace Stevens was not only one of America's outstanding modernist poets but also a successful insurance lawyer--a fact that continues to intrigue many readers. Though Stevens tried hard to separate his poetry from his profession, legal theorist Thomas Grey shows that he did not ultimately succeed. After stressing how little connection appears on the surface between the two parts of Stevens's life, Grey argues that in its pragmatic account of human reasoning, the poetry distinctively illuminates the workings of the law.

In this important extension of the recent law-and-literature movement, Grey reveals Stevens as a philosophical poet and implicitly a pragmatist legal theorist, who illustrates how human thought proceeds through "assertion, qualification, and qualified reassertion," and how reason and passion fuse together in the act of interpretation. Above all, Stevens's poetry proves a liberating antidote to the binary logic that is characteristic of legal theory: one side of a case is right, the other wrong; conduct is either lawful or unlawful.

At the same time as he discovers in Stevens a pragmatist philosopher of law, Grey offers a strikingly new perspective on the poetry itself. In the poems that develop Stevens's "reality-imagination complex"--poems often criticized as remote, apolitical, and hermetic--Grey finds a body of work that not only captivates the reader but also provides a unique instrument for scrutinizing the thought processes of lawyers and judges in their exercise of social power.

“More than any other single critic, Vendler has shown people how to read Stevens not as a philosopher...but as a passionate and often disappointed human being.”
—Stephanie Burt, Wallace Stevens Journal

A giant of modern poetry finds his greatest reader and fiercest advocate in the peerless Helen Vendler.

Wallace Stevens is often considered a cerebral, abstract poet. Alternating between ornamental flourish and philosophical contemplation, his work can seem impenetrable to casual readers. When a bewildered acquaintance once asked him to explain a poem, Stevens elliptically replied, “I don’t think you’d understand this unless you wrote it.”

And yet, as Helen Vendler shows, there is so much more to Stevens than dexterous wordplay or oblique cogitations on the relationship between reality and imagination. In a meticulous reading of his shorter poems—“The Idea of Order at Key West,” “The Snow Man,” and “The Emperor of Ice-Cream,” among others—Vendler excavates the depth of human feeling beneath his rarefied surfaces. Vendler’s Stevens is, above all, a poet of desire and its disillusions. His choices of words, fastidious as they are, mark his attempt to find a form adequate to his over-acute experience of ordinary life events: the failure of a marriage, the death of a neighbor, or a simple walk through his Connecticut neighborhood. Beyond sensual desire, his most profound yearning is to capture in poetry what his nerves cannot help but register, to encapsulate a world that has “stopped revolving except in crystal.”

Compiled from Vendler’s 1982 lectures at the University of Tennessee, Knoxville, Words Chosen Out of Desire showcases a leading critic at the peak of her powers, one whose masterful reconstructions played no small part in cementing Stevens’s place in the canon of literary modernism.