'An old teapot, used daily, can tell me more of my past than anything I recorded of it.' Sylvia Townsend Warner There are many ways of telling the story of a life and how we've got to where we are. The questions of why and how we think the way we do continues to preoccupy philosophers. In The Stuff of Life, Timothy Morton chooses the objects that have shaped and punctuated their life to tell the story of who they are and why they might think the way they do. These objects are 'things' in the richest sense. They are beings, non-human beings, that have a presence and a force of their own. From the looming expanse of Battersea Power Station to a packet of anti-depressants and a cowboy suit, Morton explores why 'stuff' matters and the life of these things have so powerfully impinged upon their own. Their realization, through a concealer stick, that they identify as non-binary reveals the strange and wonderful ways that objects can form our worlds. Part memoir, part philosophical exploration of the meaning of a life lived alongside and through other things, Morton asks us to think about the stuff, things, objects and buildings that have formed our realities and who we are and might be.

'An old teapot, used daily, can tell me more of my past than anything I recorded of it.' Sylvia Townsend Warner There are many ways of telling the story of a life and how we've got to where we are. The questions of why and how we think the way we do continues to preoccupy philosophers. In The Stuff of Life, Timothy Morton chooses the objects that have shaped and punctuated their life to tell the story of who they are and why they might think the way they do. These objects are 'things' in the richest sense. They are beings, non-human beings, that have a presence and a force of their own. From the looming expanse of Battersea Power Station to a packet of anti-depressants and a cowboy suit, Morton explores why 'stuff' matters and the life of these things have so powerfully impinged upon their own. Their realization, through a concealer stick, that they identify as non-binary reveals the strange and wonderful ways that objects can form our worlds. Part memoir, part philosophical exploration of the meaning of a life lived alongside and through other things, Morton asks us to think about the stuff, things, objects and buildings that have formed our realities and who we are and might be.

We take for granted that only certain kind of things exist - electrons but not angels, passports but not nymphs. This is what we understand as 'reality'. But in fact, 'reality' varies with each era of the world, in turn shaping the field of what is possible to do, think and imagine. Our contemporary age has embraced a troubling and painful form of reality: Technic. Under Technic, the foundations of reality begin to crumble, shrinking the field of the possible and freezing our lives in an anguished state of paralysis. Technic and Magic shows that the way out of the present deadlock lies much deeper than debates on politics or economics. By drawing from an array of Northern and Southern sources - spanning from Heidegger, Junger and Stirner's philosophies, through Pessoa's poetry, to Advaita Vedanta, Bhartrhari, Ibn Arabi, Suhrawardi and Mulla Sadra's theosophies - Magic is presented as an alternative system of reality to Technic. While Technic attempts to capture the world through an 'absolute language', Magic centres its reconstruction of the world around the notion of the 'ineffable' that lies at the heart of existence. Technic and Magic is an original philosophical work, and a timely cultural intervention. It disturbs our understanding of the structure of reality, while restoring it in a new form. This is possibly the most radical act: if we wish to change our world, first we have to change the idea of 'reality' that defines it.

This book borrows from the intellectual labor of queer theory in order to unsettle-or "queer"-the discourses of "religion" and "science," and, by extension, the "science and religion discourse." Drawing intellectual and social cues from works by influential theorists such as Michel Foucault, Judith Butler, and Eve Sedgwick, chapters in this volume converge on at least three common features of queer theory. First, queer theory challenges givens that on occasion still undergird religiously and scientifically informed ways of thinking. Second, it takes embodiment seriously. Third, this engagement inevitably generates new pathways for thinking about how religious and scientific "truths" matter. These three features ultimately lend support to critical investigations into the meanings of "science" and "religion," and the relationships between the two.

Science fiction is filled with spacecraft. On Earth, actual rockets explode over Texas while others make their way to Mars. But what are spacecraft, and just what can they teach us about imagination, ecology, democracy, and the nature of objects? Why do certain spacecraft stand out in popular culture? If ever there were a spacecraft that could be detached from its context, sold as toys, turned into Disney rides, parodied, and flit around in everyone's head-the Millennium Falcon would be it. Springing from this infamous Star Wars vehicle, Spacecraft takes readers on an intergalactic journey through science fiction and speculative philosophy, revealing real-world political and ecological lessons along the way. In this book Timothy Morton shows how spacecraft are never mere flights of fancy.

Timothy Morton explores the significance of spice, and the spice trade, in Romantic literature, shedding new light on the impact of a growing consumer culture and capitalist ideology on writers of the period. The Poetics of Spice includes discussion of a wide range of related topics--exoticism, orientalism, colonialism, the slave trade, race and gender issues, and, above all, capitalism. The book surveys literary, political, medical, travel, trade and philosophical texts, and includes new readings of Milton, Coleridge, Keats, Shelley, Leigh Hunt, Charlotte Smith and Southey among many others.

In twenty short books, Penguin brings you the classics of the environmental movement. Provocative and playful, All Art is Ecological explores the strangeness of living in an age of mass extinction, and shows us that emotions and experience are the basis for a deep philosophical engagement with ecology. Over the past 75 years, a new canon has emerged. As life on Earth has become irrevocably altered by humans, visionary thinkers around the world have raised their voices to defend the planet, and affirm our place at the heart of its restoration. Their words have endured through the decades, becoming the classics of a movement. Together, these books show the richness of environmental thought, and point the way to a fairer, saner, greener world.

In twenty short books, Penguin brings you the classics of the environmental movement - now in one complete set Over the past 75 years, a new canon has emerged. As humans have driven the living planet to the brink of collapse, visionary thinkers around the world have raised their voices to defend it. Their words have endured, becoming the classics that define the environmental movement today. From art, literature, food and gardening, to technology, economics, politics and ethics, each of these short books deepens our sense of our place in nature; each is a seed from which a bold activism can grow. Together, they show the richness of environmental thought, and point the way to a fairer, saner, greener world.

This study examines the radical tradition in British literary culture from the English Revolution to the French Revolution. It charts continuities between the two periods and examines the recuperation of ideas and texts from the earlier period in the 1790s and beyond. The volume argues that the radical agendas of the mid-seventeenth century, intended to change society fundamentally, did not disappear throughout the long eighteenth-century, only to be resuscitated at its close. Rather, through close textual analysis, these essays indicate a more continuous transmission.

This book brings together the themes of diet, consumption, the body, and human relationships with the natural world, in a highly original study of Shelley. A campaigning vegetarian and proto-ecological thinker, Shelley may seem to us curiously modern, but Morton offers an illuminatingly broad context for Shelley's views in eighteenth-century social and political thought concerning the relationships between humanity and nature. The book is at once grounded in the revolutionary history of the period 1790-1820, and informed by current theoretical issues and anthropological and sociological approaches to literature. Morton provides challenging new readings of much-debated poems, plays, and novels by both Percy and Mary Shelley, as well as the first sustained interpretation of Shelley's prose on diet. With its stimulating literary-historical reassessment of questions about nature and culture, this study will provoke fresh discussion about Shelley, Romanticism, and modernity.

In this volume of interdisciplinary essays, leading scholars examine the radical tradition in British literary culture from the English Revolution to the French Revolution. They chart continuities between the two periods and examine the recuperation of ideas and texts from the earlier period in the 1790s and beyond. Contributors utilize a variety of approaches and concepts: from gender studies, the cultural history of food and diet and the history of political discourse, to explorations of the theatre, philosophy and metaphysics. This volume argues that the radical agendas of the mid-seventeenth century, intended to change society fundamentally, did not disappear throughout the long eighteenth century only to be resuscitated at its close. Rather, through close textual analysis, these essays indicate a more continuous transmission.

A book about ecology without information dumping, guilt inducing, or preaching to the choir.Don't care about ecology? You think you don't, but you might all the same. Don't read ecology books? This book is for you. Ecology books can be confusing information dumps that are out of date by the time they hit you. Slapping you upside the head to make you feel bad. Grabbing you by the lapels while yelling disturbing facts. Handwringing in agony about "What are we going to do?" This book has none of that. Being Ecological doesn't preach to the eco-choir. It's for you--even, Timothy Morton explains, if you're not in the choir, even if you have no idea what choirs are. You might already be ecological. After establishing the approach of the book (no facts allowed!), Morton draws on Kant and Heidegger to help us understand living in an age of mass extinction caused by global warming. He considers the object of ecological awareness and ecological thinking: the biosphere and its interconnections. He discusses what sorts of actions count as ecological--starting a revolution? going to the garden center to smell the plants? And finally, in "Not a Grand Tour of Ecological Thought," he explores a variety of current styles of being ecological--a range of overlapping orientations rather than preformatted self-labeling. Caught up in the us-versus-them (or you-versus-everything else) urgency of ecological crisis, Morton suggests, it's easy to forget that you are a symbiotic being entangled with other symbiotic beings. Isn't that being ecological?

Percy Bysshe Shelley (1792-1822) was an extraordinary poet, playwright and essayist, revolutionary both in his ideas and in his artistic theory and practice. This 2006 collection of original essays by an international group of specialists is a comprehensive survey of the life, works and times of this radical Romantic writer. Three sections cover Shelley's life and posthumous reception; the basics of his poetry, prose and drama; and his immersion in the currents of philosophical and political thinking and practice. As well as providing a wide-ranging look at the state of existing scholarship, the Companion develops and enriches our understanding of Shelley. Significant new contributions include fresh assessments of Shelley's narratives, his view of philosophy, and his role in emerging views about ecology. With its chronology and guide to further reading, this lively and accessible Companion is an invaluable guide for students and scholars of Shelley and of Romanticism.

Percy Bysshe Shelley (1792-1822) was an extraordinary poet, playwright and essayist, revolutionary both in his ideas and in his artistic theory and practice. This 2006 collection of original essays by an international group of specialists is a comprehensive survey of the life, works and times of this radical Romantic writer. Three sections cover Shelley's life and posthumous reception; the basics of his poetry, prose and drama; and his immersion in the currents of philosophical and political thinking and practice. As well as providing a wide-ranging look at the state of existing scholarship, the Companion develops and enriches our understanding of Shelley. Significant new contributions include fresh assessments of Shelley's narratives, his view of philosophy, and his role in emerging views about ecology. With its chronology and guide to further reading, this lively and accessible Companion is an invaluable guide for students and scholars of Shelley and of Romanticism.

This 2000 book considers the literary and cultural significance of spice, and the spice trade, in Romantic literature, shedding new light on the impact of consumerism and capitalist ideology on writers of the period. Timothy Morton demonstrates how the emerging consumer culture was characterized by an ornate, figuratively rich mode of representation which he describes as 'the poetics of spice'. This is the focal point for a probing analysis that addresses a host of related themes - exoticism, orientalism, colonialism, the slave trade, race and gender issues, and, above all, capitalism. Employing a mixture of Marxist, deconstructive and psychoanalytic theory, Morton explores how capitalist ideology was inscribed in the very materials of consumption. The book takes a wide historical perspective, surveying a range of literary, political, medical, travel, trade and philosophical texts, and includes readings of Milton, Coleridge, Keats, Shelley, Leigh Hunt, Charlotte Smith and Southey among many others.

In "Ecology without Nature," Timothy Morton argues that the chief stumbling block to environmental thinking is the image of nature itself. Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the "nature" they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all.

"Ecology without Nature" investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading "environmentality" in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from "The Lord of the Rings" to electronic life forms, "Ecology without Nature" widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: "dark ecology."

In this passionate, lucid, and surprising book, Timothy Morton argues that all forms of life are connected in a vast, entangling mesh. This interconnectedness penetrates all dimensions of life. No being, construct, or object can exist independently from the ecological entanglement, Morton contends, nor does "Nature" exist as an entity separate from the uglier or more synthetic elements of life. Realizing this interconnectedness is what Morton calls the ecological thought. In three concise chapters, Morton investigates the profound philosophical, political, and aesthetic implications of the fact that all life forms are interconnected. As a work of environmental philosophy and theory, The Ecological Thought explores an emerging awareness of ecological reality in an age of global warming. Using Darwin and contemporary discoveries in life sciences as root texts, Morton describes a mesh of deeply interconnected life forms-intimate, strange, and lacking fixed identity. A "prequel" to his Ecology without Nature: Rethinking Environmental Aesthetics (Harvard, 2007), The Ecological Thought is an engaged and accessible work that will challenge the thinking of readers in disciplines ranging from critical theory to Romanticism to cultural geography.

We take for granted that only certain kind of things exist - electrons but not angels, passports but not nymphs. This is what we understand as 'reality'. But in fact, 'reality' varies with each era of the world, in turn shaping the field of what is possible to do, think and imagine. Our contemporary age has embraced a troubling and painful form of reality: Technic. Under Technic, the foundations of reality begin to crumble, shrinking the field of the possible and freezing our lives in an anguished state of paralysis. Technic and Magic shows that the way out of the present deadlock lies much deeper than debates on politics or economics. By drawing from an array of Northern and Southern sources - spanning from Heidegger, Junger and Stirner's philosophies, through Pessoa's poetry, to Advaita Vedanta, Bhartrhari, Ibn Arabi, Suhrawardi and Mulla Sadra's theosophies - Magic is presented as an alternative system of reality to Technic. While Technic attempts to capture the world through an 'absolute language', Magic centres its reconstruction of the world around the notion of the 'ineffable' that lies at the heart of existence. Technic and Magic is an original philosophical work, and a timely cultural intervention. It disturbs our understanding of the structure of reality, while restoring it in a new form. This is possibly the most radical act: if we wish to change our world, first we have to change the idea of 'reality' that defines it.

Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Moebius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are. The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse.

Mary Shelley's Frankenstein is one of the most widely studied works of English literature, and Frankenstein's creature is a key figure in the popular imagination.
This Sourcebook examines Mary Shelley's novel within its literary and cultural contexts, bringing together material on:
* the contexts from which Frankenstein emerged
* the novel's early reception
* adaptation and performance of the work (from theatre to pop music)
* recent criticism.
All documents are discussed and explained. The volume also includes offers carefully annotated key passages from the novel itself and concludes with a list of recommended editions and further reading, to allow readers to pursue their study in the areas that interest them most. This Routledge Literary Sourcebook provides an ideal orientation to the novel, its reception history and the critical material that surrounds it.

Mary Shelley's Frankenstein is one of the most widely studied works of English literature, and Frankenstein's creature is a key figure in the popular imagination.
This Sourcebook examines Mary Shelley's novel within its literary and cultural contexts, bringing together material on:
* the contexts from which Frankenstein emerged
* the novel's early reception
* adaptation and performance of the work (from theatre to pop music)
* recent criticism.
All documents are discussed and explained. The volume also includes offers carefully annotated key passages from the novel itself and concludes with a list of recommended editions and further reading, to allow readers to pursue their study in the areas that interest them most. This Routledge Literary Sourcebook provides an ideal orientation to the novel, its reception history and the critical material that surrounds it.

“I WORK BETWEEN THE CRACKS, WHERE THE VOICE STARTS DANCING” To say that Meredith Monk is an outstanding singer, com poser, choreographer and filmmaker says a lot and yet too little. Monk works seamlessly across disciplines—pushing the boundaries of music, theater, dance, video, and installation, and is considered a pioneer of site-specific perfor mance. At the center of her oeuvre is the suggestive power of the human voice: the body becomes a resonating space for a universal language for which there are no words. Monk was the first artist to create a performance for the rotunda of the Guggenheim Museum, she performed in public car parks and on opera stages. This catalogue presents the first career encompassing, in-depth analysis of her work. Featuring never-before-pub lished archival material, musical notations, drawings, and photographs, as well as an insightful conversation with the artist, the essays underscore Monk’s lasting influence and affirm the relevance of her work for the present.

Having set global warming in irreversible motion, we are facing the possibility of ecological catastrophe. But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls "hyperobjects"--entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art.

Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place. Instead of inhabiting a world, we find ourselves inside a number of hyperobjects, such as climate, nuclear weapons, evolution, or relativity. Such objects put unbearable strains on our normal ways of reasoning.

Insisting that we have to reinvent how we think to even begin to comprehend the world we now live in, "Hyperobjects" takes the first steps, outlining a genuinely postmodern ecological approach to thought and action.

This book brings together the themes of diet, consumption, the body, and human relationships with the natural world, in a highly original study of Shelley. A campaigning vegetarian and proto-ecological thinker, Shelley may seem to us curiously modern, but Morton offers an illuminatingly broad context for Shelley's views in eighteenth-century social and political thought concerning the relationships between humanity and nature. The book is at once grounded in the revolutionary history of the period 1790-1820, and informed by current theoretical issues and anthropological and sociological approaches to literature. Morton provides challenging new readings of much-debated poems, plays, and novels by both Percy and Mary Shelley, as well as the first sustained interpretation of Shelley's prose on diet. With its stimulating literary-historical reassessment of questions about nature and culture, this study will provoke fresh discussion about Shelley, Romanticism, and modernity.