Gary Saul Morson

Morton Schapiro

A provocative and inspiring case for a more humanistic economics Economists often act as if their methods explain all human behavior. But in Cents and Sensibility, an eminent literary critic and a leading economist make the case that the humanities, especially the study of literature, offer economists ways to make their models more realistic, their predictions more accurate, and their policies more effective and just. Gary Saul Morson and Morton Schapiro trace the connection between Adam Smith's great classic, The Wealth of Nations, and his less celebrated book on The Theory of Moral Sentiments, and contend that a few decades later Jane Austen invented her groundbreaking method of novelistic narration in order to give life to the empathy that Smith believed essential to humanity. Morson and Schapiro argue that Smith's heirs include Austen, Anton Chekhov, and Leo Tolstoy as well as John Maynard Keynes and Milton Friedman. Economists need a richer appreciation of behavior, ethics, culture, and narrative—all of which the great writers teach better than anyone. Cents and Sensibility demonstrates the benefits of a freewheeling dialogue between economics and the humanities by addressing a wide range of problems drawn from the economics of higher education, the economics of the family, and the development of poor nations. It offers new insights about everything from the manipulation of college rankings to why some countries grow faster than others. At the same time, the book shows how looking at real-world problems can revitalize the study of literature itself. Original, provocative, and inspiring, Cents and Sensibility brings economics back to its place in the human conversation.

What Economics Can Learn from the Humanities

Cents and Sensibility

In this important and controversial book, one of our leading literary theorists presents a major philosophical statement about the meaning of literature and the shape of literary texts. Drawing on works by the Russian writers Dostoevsky, Tolstoy, and Chekhov, by other writers as diverse as Sophocles, Cervantes, and George Eliot, by thinkers as varied as William James, Mikhail Bakhtin, and Stephen Jay Gould, and from philosophy, the Bible, television, and much more, Gary Saul Morson examines the relation of time to narrative form and to an ethical dimension of the literary experience. Morson asserts that the way we think about the world and narrate events is often in contradiction to the truly eventful and open nature of daily life. Literature, history, and the sciences frequently present experience as if contingency, chance, and the possibility of diverse futures were all illusory. As a result, people draw conclusions or accept ideologies without sufficiently examining their consequences or alternatives. However, says Morson, there is another way to read and construct texts. He explains that most narratives are developed through foreshadowing and "backshadowing" (foreshadowing ascribed after the fact), which tend to reduce the multiplicity of possibilities in each moment. But other literary works try to convey temporal openness through a device he calls "sideshadowing." Sideshadowing suggests that to understand an event is to grasp what else might have happened. Time is not a line but a shifting set of fields of possibility. Morson argues that this view of time and narrative encourages intellectual pluralism, helps to liberate us from the false certainties of dogmatism, creates a healthy skepticism of present orthodoxies, and makes us aware that there are moral choices available to us.

The Shadows of Time

Narrative and Freedom

In this invigorating new assessment of Anna Karenina, Gary Saul Morson overturns traditional interpretations of the classic novel and shows why readers have misunderstood Tolstoy's characters and intentions. Morson argues that Tolstoy's ideas are far more radical than has been thought: his masterpiece challenges deeply held conceptions of romantic love, the process of social reform, modernization, and the nature of good and evil. By investigating the ethical, philosophical, and social issues with which Tolstoy grappled, Morson finds in Anna Karenina powerful connections with the concerns of today. He proposes that Tolstoy's effort to see the world more wisely can deeply inform our own search for wisdom in the present day. The book offers brilliant analyses of Anna, Karenin, Dolly, Levin, and other characters, with a particularly subtle portrait of Anna's extremism and self-deception. Morson probes Tolstoy's important insights (evil is often the result of negligence; goodness derives from small, everyday deeds) and completes the volume with an irresistible, original list of One Hundred and Sixty-Three Tolstoyan Conclusions.

Seeing More Wisely

Anna Karenina in Our Time

In this lively gambol through the history of "ations and "ation books, Gary Saul Morson traces our enduring fascination with the words of others. Ranging from the remote past to the present, he explores the formation, development, and significance of "ations, while exploring the "verbal museums" in which they have been collected and displayed--commonplace books, treasuries, and anthologies. In his trademark clear, witty, and provocative style, Morson invites readers to share his delight in the shortest literary genre.The author defines what makes a "e "able, as well as the (unexpected) differences between "ation and mis"ation. He describes how "ations form, transform, and may eventually become idioms. How much of language itself is the residue of former "ations? Weaving in hundreds of intriguing "ations, common and unusual, Morson explores how the words of others constitute essential elements in the formation of a culture and of the self within that culture. In so doing, he provides a demonstration of that very process, captured in the pages of this extraordinary new book.

From Quotations to Culture

The Words of Others

A timely exploration of intellectual dogmatism in politics, economics, religion, and literature—and what can be done to fight it Polarization may be pushing democracy to the breaking point. But few have explored the larger, interconnected forces that have set the stage for this crisis: namely, a rise in styles of thought, across a range of fields, that literary scholar Gary Saul Morson and economist Morton Schapiro call “fundamentalist.” In Minds Wide Shut, Morson and Schapiro examine how rigid adherence to ideological thinking has altered politics, economics, religion, and literature in ways that are mutually reinforcing and antithetical to the open-mindedness and readiness to compromise that animate democracy. In response, they propose alternatives that would again make serious dialogue possible. Fundamentalist thinking, Morson and Schapiro argue, is not limited to any one camp. It flourishes across the political spectrum, giving rise to dueling monologues of shouting and abuse between those who are certain that they can’t be wrong, that truth and justice are all on their side, and that there is nothing to learn from their opponents, who must be evil or deluded. But things don’t have to be this way. Drawing on thinkers and writers from across the humanities and social sciences, Morson and Schapiro show how we might begin to return to meaningful dialogue through case-based reasoning, objective analyses, lessons drawn from literature, and more. The result is a powerful invitation to leave behind simplification, rigidity, and extremism—and to move toward a future of greater open-mindedness, moderation, and, perhaps, even wisdom.

How the New Fundamentalisms Divide Us

Minds Wide Shut

DIVIn this lively gambol through the history of quotations and quotation books, Gary Saul Morson traces our enduring fascination with the words of others. Ranging from the remote past to the present, he explores the formation, development, and significance of quotations, while exploring the "verbal museums" in which they have been collected and displayed--commonplace books, treasuries, and anthologies. In his trademark clear, witty, and provocative style, Morson invites readers to share his delight in the shortest literary genre. The author defines what makes a quote quotable, as well as the (unexpected) differences between quotation and misquotation. He describes how quotations form, transform, and may eventually become idioms. How much of language itself is the residue of former quotations? Weaving in hundreds of intriguing quotations, common and unusual, Morson explores how the words of others constitute essential elements in the formation of a culture and of the self within that culture. In so doing, he provides a demonstration of that very process, captured in the pages of this extraordinary new book./div -- Robert Alter

Threshold Art

Dostoevsky's Diary of a Writer

This text presents the author's theories about the meaning of literature and the shape of literary texts. Using examples from classic literary texts, as well as the Bible and television, it examines the relation of time to narrative form.

Paul J. Contino

Susan M. Felch

This work investigates the role of religious thought in shaping and framing Bakhtin's writings. The authors explore Bakhtin's idea of faith - an abstract codification of a belief system - and a feeling for faith which involves the active participation of persons, both human and divine.

A Feeling for Faith

Bakhtin and Religion

Alicia Chudo

"Russia had fascinated outsiders for centuries, and according to Alicia Chudo, it is high time this borscht stopped. In And Quiet Flows the Vodka, Chudo takes no prisoners as she examines Russia's great tradition of unreadable writers, revolutionaries who can't hit the broadside of a tsar, and Soviets who like their vodka but love their tractors." --Book Jacket.

Or When Pushkin Comes to Shove: The Curmudgeon's Guide to Russian Literature with the Devil's Dictionary of Received Ideas

And Quiet Flows the Vodka

"Gary Saul Morson, a literature scholar at Northwestern, and Morton Schapiro, an economist, and president of Northwestern, are authors of our book Cents and Sensibilities, on what economists, who tend to reduce reality to economic fundamentalist thinking, can do to correct and enhance their accounts of social life. In their new book, Morton and Schapiro extend their discussion to encompass not only the market fundamentalism of economics, but various other forms of intellectual fundamentalism from politics through religion through literature. In each case and overall, they emphasize the importance of cross-disciplinary dialogue in correcting the errors of these diferent academics fundamentalisms, while helping to construct richer accounts of culture and society"--

Caryl Emerson

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.

Creation of a Prosaics

Mikhail Bakhtin

Robert Louis Jackson

Elizabeth Cheresh Allen

Robert Louis Jackson has long been recognized on both sides of the Atlantic as one of the foremost Dostoevsky scholars in the world. Freedom and Responsibility in Russian Literature collects twenty essays by distinguished scholars (many former students of Jackson's) and admiring colleagues on some of the foremost questions in Russian studies. Whatever the specific topic, these essays manifest a determination to exercise the critical independence and integrity exemplified by Jackson throughout his long career.

Essays in Honor of Robert Louis Jackson

Freedom and Responsibility in Russian Literature

" Perhaps the single most intelligent reading of War and Peace we have in English." William Mills Todd III, Stanford University

Narrative and Creative Potentials in "War and Peace"

Hidden in Plain View

In Cents and Sensibility, an eminent literary critic and a leading economist make the case that the humanities—especially the study of literature—offer economists ways to make their models more realistic, their predictions more accurate, and their policies more effective and just. Arguing that Adam Smith’s heirs include Austen, Chekhov, and Tolstoy as much as Keynes and Friedman, Gary Saul Morson and Morton Schapiro trace the connection between Adam Smith’s great classic, The Wealth of Nations, and his less celebrated book on ethics, The Theory of Moral Sentiments. The authors contend that a few decades later, Jane Austen invented her groundbreaking method of novelistic narration in order to give life to the empathy that Smith believed essential to humanity. More than anyone, the great writers can offer economists something they need—a richer appreciation of behavior, ethics, culture, and narrative. Original, provocative, and inspiring, Cents and Sensibility demonstrates the benefits of a dialogue between economics and the humanities and also shows how looking at real-world problems can revitalize the study of literature itself. Featuring a new preface, this book brings economics back to its place in the human conversation.

For decades, the formal peculiarities of War and Peace disturbed Russian and Western critics, who attributed both the anomalous structure and the literary power of the book to Tolstoy's "primitive," unruly genius. Using that critical history as a starting point, this volume recaptures the overwhelming sense of strangeness felt by the work's first readers and thereby illuminates Tolstoy's theoretical and narratological concerns. The author demonstrates that the formal peculiarities of War and Peace were deliberate, designed to elude what Tolstoy regarded as the falsifying constraints of all narratives, both novelistic and historical. Developing and challenging the ideas of Mikhail Bakhtin, Morson explores Tolstoy's account of the work's composition in light of various myths of the creative process. He proposes a theory of "creation by potential" that incorporates Tolstoy's main concerns: the "openness" of each historical moment; the role of chance in history and within narrative patterns; and the efficacy of ordinary events, "hidden in plain view," in shaping history and individual psychology. In his reading of Tolstoy, he demonstrates how we read literary works within the "penumbral text" of associated theories of creativity.

Narrative and Creative Potentials in 'War and Peace'

Using Dostoevsky's most radical experiment in literary form as a springboard, Gary Saul Morson examines a number of key topics in contemporary literary theory, including the nature of literary genres and their relation to interpretation. He convincingly argues that genre is not a property of texts alone but arises from the interaction between texts and readers. Observing that changing conventions of interpretation and classifciation may alter the perception of particular works, Morson considers a number of problematic texts that have been read according to two contradictory sets of conventions - "boundary works" - and a futher group of texts - "threshold works" such as Dostoevsky's Diary of a writer - that were evidently designed by their authors to exploit this kind of hermeneutic ambivalence. Morson explores the nature of the literary utopia and its parodic form, the anti-utopia, and, returning to Dostoevsky's Diary as his example, a third form which exists as a sort of open dialogue of utopia and anti-utopia.

Gary Saul Morson

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