“The fate of our times is characterized by rationalization and intellectualization and, above all, by ‘the disenchantment of the world.’” Max Weber’s statement remains a dominant interpretation of the modern condition: the increasing capabilities of knowledge and science have banished mysteries, leaving a world that can be mastered technically and intellectually. And though this idea seems empowering, many people have become disenchanted with modern disenchantment. Using intimate encounters with works of art to explore disenchantment and the possibilities of re-enchantment, Arts of Wonder addresses questions about the nature of humanity, the world, and God in the wake of Weber’s diagnosis of modernity.

 

Jeffrey L. Kosky focuses on a handful of artists—Walter De Maria, Diller + Scofidio, James Turrell, and Andy Goldsworthy—to show how they introduce spaces hospitable to mystery and wonder, redemption and revelation, and transcendence and creation. What might be thought of as religious longings, he argues, are crucial aspects of enchanting secularity when developed through encounters with these works of art. Developing a model of religion that might be significant to secular culture, Kosky shows how this model can be employed to deepen interpretation of the art we usually view as representing secular modernity. A thoughtful dialogue between philosophy and art, Arts of Wonder will catch the eye of readers of art and religion, philosophy of religion, and art criticism.

The eighth and seventh centuries BCE were a time of flourishing exchange between the Mediterranean and the Near East. One of the period’s key imports to the Hellenic and Italic worlds was the image of the griffin, a mythical monster that usually possesses the body of a lion and the head of an eagle. In particular, bronze cauldrons bore griffin protomes—figurative attachments showing the neck and head of the beast. Crafted in fine detail, the protomes were made to appear full of vigor, transfixing viewers.

Bronze Monsters and the Cultures of Wonder takes griffin cauldrons as case studies in the shifting material and visual universes of preclassical antiquity, arguing that they were perceived as lifelike monsters that introduced the illusion of verisimilitude to Mediterranean arts. The objects were placed in the tombs of the wealthy (Italy, Cyprus) and in sanctuaries (Greece), creating fantastical environments akin to later cabinets of curiosities. Yet griffin cauldrons were accessible only to elites, ensuring that the new experience of visuality they fostered was itself a symbol of status. Focusing on the sensory encounter of this new visuality, Nassos Papalexandrou shows how spaces made wondrous fostered novel subjectivities and social distinctions.

In The Cow in the Elevator Tulasi Srinivas explores a wonderful world where deities jump fences and priests ride in helicopters to present a joyful, imaginative, yet critical reading of modern religious life. Drawing on nearly two decades of fieldwork with priests, residents, and devotees, and her own experience of living in the high-tech city of Bangalore, Srinivas finds moments where ritual enmeshes with global modernity to create wonder—a feeling of amazement at being overcome by the unexpected and sublime. Offering a nuanced account of how the ruptures of modernity can be made normal, enrapturing, and even comical in a city swept up in globalization's tumult, Srinivas brings the visceral richness of wonder—apparent in creative ritual in and around Hindu temples—into the anthropological gaze. Broaching provocative philosophical themes like desire, complicity, loss, time, money, technology, and the imagination, Srinivas pursues an interrogation of wonder and the adventure of writing true to its experience. The Cow in the Elevator rethinks the study of ritual while reshaping our appreciation of wonder's transformative potential for scholarship and for life.

 

As a ruler, Frederick was unusually modern in his sensibilities. Sicily was a cultural melting pot in the thirteenth century and Frederick ended up speaking several languages. He protected Jews and Muslims in his realms and prosecuted Christian heretics throughout his thirty-year reign. Frederick was married three times, and had four legitimate and eleven illegitimate children. He was a polymath with interests ranging from sculpture, architecture, and poetry to mathematics and science in many forms, earning him admiration from his contemporaries who called him Stupor mundi, “Wonder of the World.” His lifelong interest in hunting with birds of prey led to the writing of the classic work De Arte Venandi cum Avibus (The Art of Falconry), which is still in print. Based on the latest scholarship and written for the general reader, Frederick II: The Wonder of the World by Richard Bressler provides the complete story of this complex and fascinating man.

A masterwork of history and cultural studies, Marvelous Possessions is a brilliant meditation on the interconnected ways in which Europeans of the Age of Discovery represented non-European peoples and took possession of their lands, particularly in the New World. In a series of innovative readings of travel narratives, judicial documents, and official reports, Stephen Greenblatt shows that the experience of the marvelous, central to both art and philosophy, was manipulated by Columbus and others in the service of colonial appropriation. Much more than simply a collection of the odd and exotic, Marvelous Possessions is both a highly original extension of Greenblatt’s thinking on a subject that has permeated his career and a thrilling tale of wandering, kidnapping, and go-betweens—of daring improvisation, betrayal, and violence. Reaching back to the ancient Greeks, forward to the present, and, in his new preface, even to fantastical meetings between humans and aliens in movies like Close Encounters of the Third Kind, Greenblatt would have us ask: How is it possible, in a time of disorientation, hatred of the other, and possessiveness, to keep the capacity for wonder—for tolerant recognition of cultural difference—from being poisoned?

Marvelous Possessions is a study of the ways in which Europeans of the late Middle Ages and the early modern period represented non-European peoples and took possession of their lands, in particular the New World.

In a series of innovative readings of travel narratives, judicial documents, and official reports, Stephen Greenblatt shows that the experience of the marvelous, central to both art and philosophy, was cunningly yoked by Columbus and others to the service of colonial appropriation. He argues that the traditional symbolic actions and legal rituals through which European sovereignty was asserted were strained to the breaking point by the unprecedented nature of the discovery of the New World. But the book also shows that the experience of the marvelous is not necessarily an agent of empire: in writers as different as Herodotus, Jean de Léry, and Montaigne—and notably in Mandeville's Travels, the most popular travel book of the Middle Ages—wonder is a sign of a remarkably tolerant recognition of cultural difference.

Marvelous Possession is not only a collection of the odd and exotic through which Stephen Greenblatt powerfully conveys a sense of the marvelous, but also a highly original extension of his thinking on a subject that has occupied him throughout his career. The book reaches back to the ancient Greeks and forward to the present to ask how it is possible, in a time of disorientation, hatred of the other, and possessiveness, to keep the capacity for wonder from being poisoned?

"A marvellous book. It is also a compelling and a powerful one. Nothing so original has ever been written on European responses to 'The wonder of the New World.'"—Anthony Pagden, Times Literary Supplement

"By far the most intellectually gripping and penetrating discussion of the relationship between intruders and natives is provided by Stephen Greenblatt's Marvelous Possessions."—Simon Schama, The New Republic

"For the most engaging and illuminating perspective of all, read Marvelous Possessions."—Laura Shapiro, Newsweek

Each day of working parenthood is a rollercoaster of success and failure. My child ate a carrot! Then spit it out on the dog. I got to work on time! But there is a mystery stain on my dress shirt and this Tide stick is definitely making it worse. Also yes, that was “Baby Shark” I was humming while accidentally unmuted on the Zoom call, and no, I am not going to be able to sew an octopus costume from scratch by Friday. Please tell me there is something available at Target. 

As a parent, we live through levels of both joy and sorrow that we didn’t even know existed before. And we wonder—is it only me? Am I alone in this? In Parenting on the Frontlines, we explore both the lighter and heavier sides of working parenthood. The stories shared here are written by healthcare workers at Michigan Medicine, but all caregivers will find pieces to which they can relate. Most importantly, we want you to know that you are not alone on your journey, no matter where it takes you. 

For decades, Rex Nelson has been traveling Arkansas. He learned to love the back roads, small towns, and people of the state while going on trips with his father, who sold athletic supplies to high schools. They sat in old Depression-era gyms built by the Works Progress Administration, ate in small-town cafes, and waded in streams on warm spring days.

Throughout his career as a sportswriter, political writer, senior staff member in the governor’s office, presidential appointee to the Delta Regional Authority, and now corporate communications director for Simmons Bank, Nelson has written millions of words about Arkansas and its people.

In this collection of columns from the Arkansas Democrat-Gazette, Nelson brings to life the personalities, communities, festivals, and tourist attractions that make Arkansas unique. As he says, “Arkansas is a hard place to explain to outsiders. We’re mostly Southern but also a bit Midwestern and a tad Southwestern. The Ozarks are different from the pine woods of the Gulf Coastal Plain, and the Delta is different from the Ouachitas. Invariably, though, those who take the time to get off the main roads and get to know the real Arkansas are entranced by the place.”

The authors and contributors—educators, storytellers, and peacemakers—discuss what each of us can do to promote a more peaceful community, country, and world.

For more than twenty years now, Blair Kamin of the Chicago Tribune has explored how architecture captures our imagination and engages our deepest emotions. A winner of the Pulitzer Prize for criticism, Kamin treats his subjects not only as works of art but also as symbols of the cultural and political forces that inspire them. Terror and Wonder gathers the best of Kamin’s writings from the past decade along with new reflections on an era framed by the destruction of the World Trade Center and the opening of the world’s tallest skyscraper.

Assessing ordinary commercial structures as well as head-turning designs by some of the world’s leading architects, Kamin paints a sweeping but finely textured portrait of a tumultuous age torn between the conflicting mandates of architectural spectacle and sustainability. For Kamin, the story of our built environment over the past ten years is, in tangible ways, the story of the decade itself. Terror and Wonder considers how architecture has been central to the main events and crosscurrents in American life since 2001: the devastating and debilitating consequences of 9/11 and Hurricane Katrina; the real estate boom and bust; the use of over-the-top cultural designs as engines of civic renewal; new challenges in saving old buildings; the unlikely rise of energy-saving, green architecture; and growing concern over our nation’s crumbling infrastructure.

A prominent cast of players—including Santiago Calatrava, Frank Gehry, Helmut Jahn, Daniel Libeskind, Barack Obama, Renzo Piano, and Donald Trump—fills the pages of this eye-opening look at the astounding and extraordinary ways that architecture mirrors our values—and shapes our everyday lives.