NATIONAL BESTSELLER • From “the poet laureate of medicine" (The New York Times) and the author of the classic The Man Who Mistook his Wife for a Hat comes a fascinating exploration of the remarkable, unpredictable ways that our brains cope with the loss of sight by finding rich new forms of perception. “Elaborate and gorgeously detailed.... Again and again, Sacks invites readers to imagine their way into minds unlike their own, encouraging a radical form of empathy.” —Los Angeles Times With compassion and insight, Dr. Oliver Sacks again illuminates the mysteries of the brain by introducing us to some remarkable characters, including Pat, who remains a vivacious communicator despite the stroke that deprives her of speech, and Howard, a novelist who loses the ability to read. Sacks investigates those who can see perfectly well but are unable to recognize faces, even those of their own children. He describes totally blind people who navigate by touch and smell; and others who, ironically, become hyper-visual. Finally, he recounts his own battle with an eye tumor and the strange visual symptoms it caused. As he has done in classics like The Man Who Mistook his Wife for a Hat and Awakenings, Dr. Sacks shows us that medicine is both an art and a science, and that our ability to imagine what it is to see with another person's mind is what makes us truly human.

A rare look at the role of special effects in creating fictional worlds and transmedia franchises From comic book universes crowded with soaring superheroes and shattering skyscrapers to cosmic empires set in far-off galaxies, today’s fantasy blockbusters depend on visual effects. Bringing science fiction from the studio to your screen, through film, television, or video games, these special effects power our entertainment industry. More Than Meets the Eye delves into the world of fantastic media franchises to trace the ways in which special effects over the last 50 years have become central not just to transmedia storytelling but to worldbuilding, performance, and genre in contemporary blockbuster entertainment. More Than Meets the Eye maps the ways in which special effects build consistent storyworlds and transform genres while traveling from one media platform to the next. Examining high-profile franchises in which special effects have played a constitutive role such as Star Trek, Star Wars, The Matrix, and The Lord of the Rings, as well as more contemporary franchises like Pirates of the Caribbean and Harry Potter, Bob Rehak analyzes the ways in which production practices developed alongside the cultural work of industry professionals. By studying social and cultural factors such as fan interaction, this book provides a context for understanding just how much multiplatform storytelling has come to define these megahit franchises. More Than Meets the Eye explores the larger history of how physical and optical effects in postwar Hollywood laid the foundation for modern transmedia franchises and argues that special effects are not simply an adjunct to blockbuster filmmaking, but central agents of an entire mode of production.

In The Private Eye we learn about snow geese through the eyes of Native people, scientists, artists, hunters, and farmers. Yup'ik Eskimo Charles Hunt harvests snow geese along the Yukon River delta each fall, continuing a subsistence way of life that has existed for millennia. Russian, Canadian, and US scientists track the movements of the geese each spring and fall, banding, sexing, counting, and precisely monitoring the activities of these beautiful birds. Robert Bateman provides an artist's view of nature and relates how his curiosity led him to join a camp set up at a remote nesting site. Mary Burns also talks to hunters, joining a party of them as they wait for their snow geese decoys to lure the real thing into a Westham Island field in the Fraser delta. To complete the experience she prepares snow geese for supper. As well, Burns travels around the Skagit River delta during a population survey and meets a dairy farmer who describes both the wild flocks that converge on his fields each spring and the snow geese he raises in pens. The Private Eye suggests that by acknowledging our many and varied connections with the natural world, we will have a better understanding of the human place in it.

A Tyrannous Eye: Eudora Welty’s Nonfiction and Photographs is the first book-length study of Eudora Welty’s full range of achievements in nonfiction and photography. A preeminent Welty scholar, Pearl Amelia McHaney offers clear-eyed and complex assessments of Welty’s journalism, book reviews, letters, essays, autobiography, and photographs. Each chapter focuses on one genre, filling in gaps left by previous books. With keen skills of observation, finely tuned senses, intellect, wit, awareness of audience, and modesty, Welty applied her genius in all that she did, holding a tough line on truth, breaking through “the veil of indifference to each other’s presence, each other’s wonder, each other’s plight.” McHaney’s study brings critical attention to the under-evaluated genres of Welty’s work and discusses the purposeful use of arguments, examples, and styles, demonstrating that Welty pursued her craft to a high standard across genres with a greater awareness of context than she admitted in her numerous interviews. Welty consistently dared new styles, new audiences, and new publishing venues in order to express her ideas to their fullest. It is “serious daring,” as she wrote in One Writer’s Beginnings, that makes for great writing. In “Place in Fiction,” Welty asks, “How can you go out on a limb if you do not know your own tree? No art ever came out of not risking your neck. And risk—experiment—is a considerable part of the joy of doing.”

The author discusses the raising of his daughter, Laura Estreich, with Down syndrome.

At some point during the inhumanly cold Himalayan winter straddling 1965 and 1966, a peculiar collection of box-shaped objects -- one sprouting a six-foot, insect-like antenna -- plummets nine thousand feet down the sheer flanks of a remote peak. Ripped from its moorings by an avalanche, the jumbled apparatus slides down a funnel-shaped hourglass of hard snow and shoots over a black cliff band, careening a vertical distance six times the height of the Empire State building. The boxes come to rest on the glacier at the mountain's base. One, an olive-drab casing the size of a personal computer, begins to sink. Then, trailing a robotic dogtail of torn wires, it slowly burns through the snow, melting into solid blue glacial ice, eventually disappearing beneath the surface, and never seen again. No one actually witnessed this event. But as you read these words, nearly four pounds of plutonium -- locked in the glacier's dark unknowable heart -- are almost certainly moving ever closer to the source of the Ganges River. Eye at the Top of the World, provides a harrowing present-day account of Takeda's expedition to solve the mystery of Nanda Devi.