Download PDF Wonderworks: The 25 Most Powerful Inventions in the History of Literature By Angus Fletcher
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Ebook About This “fascinating” (Malcolm Gladwell, New York Times bestselling author of Outliers) examination of literary inventions through the ages, from ancient Mesopotamia to Elena Ferrante, shows how writers have created technical breakthroughs—rivaling scientific inventions—and engineering enhancements to the human heart and mind.Literature is a technology like any other. And the writers we revere—from Homer, Shakespeare, Austen, and others—each made a unique technical breakthrough that can be viewed as both a narrative and neuroscientific advancement. Literature’s great invention was to address problems we could not solve: not how to start a fire or build a boat, but how to live and love; how to maintain courage in the face of death; how to account for the fact that we exist at all. Wonderworks reviews the blueprints for twenty-five of the most significant developments in the history of literature. These inventions can be scientifically shown to alleviate grief, trauma, loneliness, anxiety, numbness, depression, pessimism, and ennui, while sparking creativity, courage, love, empathy, hope, joy, and positive change. They can be found throughout literature—from ancient Chinese lyrics to Shakespeare’s plays, poetry to nursery rhymes and fairy tales, and crime novels to slave narratives. A “refreshing and remarkable” (Jay Parini, author of Borges and Me: An Encounter) exploration of the new literary field of story science, Wonderworks teaches you everything you wish you learned in your English class, and “contains many instances of critical insight....What’s most interesting about this compendium is its understanding of imaginative representation as a technology” (The New York Times).Book Wonderworks: The 25 Most Powerful Inventions in the History of Literature Review :
Promise: Wonderworks reviews the blueprints for twenty-five of the most powerful developments in the history of literature.Stylistically interesting, but often lacks clarity, too lengthy, largely because it is redundant and makes assumptions at times that are backed by scant evidence, fails to accomplish goals and/or promiseThe promise fails: blueprint implies guidelines. The book lacks consistency from chapter to chapter. For instance, there were no obvious categories, such a romance or tragedy or comedy for each of the 25 observations and no patterns were presented. No, “Here are the basic elements.” Instead, we got this is why this excites or helps us – neurology.Is a mix of fiction and nonfiction; falls most clearly into the creative nonfiction category, because it is a personal statement about how the author sees the world and relates to it through literature. I think the book fails because the author tries to disguise the personal aspects of the book and presents it as a nonfiction book.Links between neural processes and PTSD (flight or fight, located in the amygdala) and pleasure; while there is ample evidence that the various centers and organs in the brain do as he claims, there is scant evidence to say that we enjoy literature for the neurological reasons the author claims.My favorite parts of the book were his lose summaries of the plays, novels, and poems that he used as examples. The book was almost of catalogue of summaries of some of the most revered literature of the world.Although I did not always agree with what he claimed were the origins of various literary devices, such as storytelling, he often did use literature from cultures that are often marginalized -- Native American and West African Griot and Chinese -- in Western cultures to make his point. As an emerging poet, I liked that he used poetry often as examples. What became obvious to me while reading this book is that poetry and playwriting are both older than prose writing, i.e. novels, essays, short stories.I did not like his “tangents” into discussions of neuroscience, largely because of the lack of scientific research ungirding his arguments, but also because I think the tangents weren’t segues and were unnecessary. I think it would have been much more effective to just argue that literature helps us cope with the world. Novelists, playwrights, and poets often help us to realize the contexts for expression in humanity. Literature helps us see that we are not alone. We are surrounded by a society that helps shape us emotionally. Why? Is “why” really important to make the author’s point that literature helps us cope? Even if we knew exactly why that would lead us to what? Less humanity? More of it? The author refers to our humanity, our emotionality as the “stretch.” Suddenly the science dissipates. And many of his concepts, such as the “stretch” are grounded in many of the “inventions,” which really makes many of the “inventions” redundant. I think we have a limited range of emotions.The only reason I can think of for categorizing the “inventions” as he does is that various inventions have various audiences. For instance, while magical realism tends to be understood by adult audiences, children usually do not understand it. On the other hand, fantasy can contain satire and often contains a story within a story or two stories; one which can be understood on an adult level and one that children can appreciate. In “Gulliver’s Travels, Jonathan Swift gives us a fantasy filled with little people a faraway village, while mocking politics and religion.I liked the “human” aspects of his theories, not the pseudoscientific explanations. Which leads me to another issue: self-aggrandizement. Many reviewers point out that the author is a polymath. I believe he is, too, and while I am impressed with his range of knowledge, I think trying to fit that range into one book led the author to miss the point of writing the book: to provide a blueprint for writers to help them design solutions for technical issues within their works, not to provide a platform for the author’s vast knowledge, especially when that knowledge dances around the point of the book. The design is the “technology” that we are to use and has been used to write effective literature, and unless you are also a polymath, you likely will struggle to discern what the elements of the designs are while reading this book.Do I recommend this book? Yes! Largely so that you can see what I mean. Lol! You can form your own opinion. I can recommend this single volume work in the same way I would recommend an encyclopedia, or a toolkit. I really do not expect readers to plow through every chapter, or use every tool in this book of "literary inventions." Some chapters, I found enthralling, exciting and thought provoking. In others I was completely lost. So which is which? I am reminded of the advertising salesman who admitted to a client that, honestly, half of his advertising buy is a waste of money. But, he reminded the client, there was no way to tell which half. Except in this case, there is. The strategy I eventually came up with for this book was the following. At the beginning of each chapter, I checked to determine whether I knew even a little about the books under consideration. This is easy, as each chapter has descriptive sub titles. If, after that quick check, I realized I knew the books, I would read that chapter. If they were books I had no familiarity with, then I skipped the chapter, rather than get bogged down. I will say there is so much densely packed information here that the chapters I did read went slowly It seems to me that this is a book for an English or world literature class, more so than for a general reader. But I must say, if you are in class and this is an assigned book, lucky you. Because this book, supplemented by a competent teacher would really be remarkable educational experience. 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