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Poetry. African American Studies. "Claudia Rankine is a fiercely gifted young poet. Intelligence, a curiosity and hunger for understanding like some worrying, interior, physical pain, a gift for being alert in the world. She knows when to bless and to curse, to wonder and to judge, and she doesn't flinch. NOTHING IN NATURE IS PRIVATE is an arrival. It's the kind of book that makes you hopeful for American poetry."—Robert Hass "I am excited by Claudia Rankine's poems, their elegance, their emotional force, their scrupulous intimation of multiple identities. Representing brilliantly the prismatic vision of a Jamaican, middle class, intellectual black woman living in America, they address the widest constituency of readers. This is a richly rewarding collection."—Mervyn Morris
First published in 2003 and now available in paperback to celebrate the one hundredth anniversary of Thomas Merton's birth, When the Trees Say Nothing has sold more than 60,000 copies and continually inspires readers with its unique collection of Merton's luminous writings on nature, arranged for reflection and meditation. Thomas Merton was a Trappist monk, author, poet, social commentator, and perhaps the most influential and widely published spiritual writer of the twentieth century. In When the Trees Say Nothing, editor Kathleen Deignan sheds new light on Merton by focusing on a neglected theme of his writing: the natural world as a manifestation of the divine. Drawing from Merton's voluminous writing on nature, Deignan has thematically assembled a collection of lucid, poetic reflections. Chapters on the four elements, the seasons, the Earth and its creatures, and the sun, moon, and stars provide brief passages from his diverse works that reveal the presence of God in creation.
** A New York Times Bestseller ** NAMED ONE OF THE BEST BOOKS OF THE YEAR BY: Time • The New Yorker • NPR • GQ • Elle • Vulture • Fortune • Boing Boing • The Irish Times • The New York Public Library • The Brooklyn Public Library "A complex, smart and ambitious book that at first reads like a self-help manual, then blossoms into a wide-ranging political manifesto."—Jonah Engel Bromwich, The New York Times Book Review One of President Barack Obama's "Favorite Books of 2019" Porchlight's Personal Development & Human Behavior Book of the Year In a world where addictive technology is designed to buy and sell our attention, and our value is determined by our 24/7 data productivity, it can seem impossible to escape. But in this inspiring field guide to dropping out of the attention economy, artist and critic Jenny Odell shows us how we can still win back our lives. Odell sees our attention as the most precious—and overdrawn—resource we have. And we must actively and continuously choose how we use it. We might not spend it on things that capitalism has deemed important … but once we can start paying a new kind of attention, she writes, we can undertake bolder forms of political action, reimagine humankind’s role in the environment, and arrive at more meaningful understandings of happiness and progress. Far from the simple anti-technology screed, or the back-to-nature meditation we read so often, How to do Nothing is an action plan for thinking outside of capitalist narratives of efficiency and techno-determinism. Provocative, timely, and utterly persuasive, this book will change how you see your place in our world.
An accessible guide that breaks down the complex issues around mass surveillance and data privacy and explores the negative consequences it can have on individual citizens and their communities. No one is exempt from data mining: by owning a smartphone, or using social media or a credit card, we hand over private data to corporations and the government. We need to understand how surveillance and data collection operates in order to regain control over our digital freedoms—and our lives. Attorney and data privacy expert Heidi Boghosian unpacks widespread myths around the seemingly innocuous nature of surveillance, sets the record straight about what government agencies and corporations do with our personal data, and offers solutions to take back our information. “I Have Nothing to Hide” is both a necessary mass surveillance overview and a reference book. It addresses the misconceptions around tradeoffs between privacy and security, citizen spying, and the ability to design products with privacy protections. Boghosian breaks down misinformation surrounding 21 core myths about data privacy, including: • “Surveillance makes the nation safer.” • “No one wants to spy on kids.” • “Police don’t monitor social media.” • “Metadata doesn’t reveal much about me.” • “Congress and the courts protect us from surveillance.” • “There’s nothing I can do to stop surveillance.” By dispelling myths related to surveillance, this book helps readers better understand what data is being collected, who is gathering it, how they’re doing it, and why it matters.
Books about thinkers require a kind of unity that their thought may not possess. This cautionary statement is especially applicable to Mikhail Bakhtin, whose intellectual development displays a diversity of insights that cannot be easily integrated or accurately described in terms of a single overriding concern. Indeed, in a career spanning some sixty years, he experienced both dramatic and gradual changes in his thinking, returned to abandoned insights that he then developed in unexpected ways, and worked through new ideas only loosely related to his earlier concerns Small wonder, then, that Bakhtin should have speculated on the relations among received notions of biography, unity, innovation, and the creative process. Unity--with respect not only to individuals but also to art, culture, and the world generally--is usually understood as conformity to an underlying structure or an overarching scheme. Bakhtin believed that this idea of unity contradicts the possibility of true creativity. For if everything conforms to a preexisting pattern, then genuine development is reduced to mere discovery, to a mere uncovering of something that, in a strong sense, is already there. And yet Bakhtin accepted that some concept of unity was essential. Without it, the world ceases to make sense and creativity again disappears, this time replaced by the purely aleatory. There would again be no possibility of anything meaningfully new. The grim truth of these two extremes was expressed well by Borges: an inescapable labyrinth could consist of an infinite number of turns or of no turns at all. Bakhtin attempted to rethink the concept of unity in order to allow for the possibility of genuine creativity. The goal, in his words, was a "nonmonologic unity," in which real change (or "surprisingness") is an essential component of the creative process. As it happens, such change was characteristic of Bakhtin's own thought, which seems to have developed by continually diverging from his initial intentions. Although it would not necessarily follow that the development of Bakhtin's thought corresponded to his ideas about unity and creativity, we believe that in this case his ideas on nonmonologic unity are useful in understanding his own thought--as well as that of other thinkers whose careers are comparably varied and productive.
Adopting a multidisciplinary approach to the distinction between public and private, this lucidly written book covers an interesting and eclectic mix of topics such as citizenship, Rorty, Arendt and marriage.