Philip Fisher

Why pause and study this particular painting among so many others ranged on a gallery wall? Wonder, which Descartes called the first of the passions, is at play; it couples surprise with a wish to know more, the pleasurable promise that what is novel or rare may become familiar. This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences. In three instructive instances--a pair of paintings by Cy Twombly, the famous problem of doubling the area of a square, and the history of attempts to explain rainbows--Philip Fisher examines the experience of wonder as it draws together pleasure, thinking, and the aesthetic features of thought. Through these examples he places wonder in relation to the ordinary and the everyday as well as to its opposite, fear. The remarkable story of how rainbows came to be explained, fraught with errors, half-knowledge, and incomplete understanding, suggests that certain knowledge cannot be what we expect when wonder engages us. Instead, Fisher argues, a detailed familiarity, similar to knowing our way around a building or a painting, is the ultimate meeting point for aesthetic and scientific encounters with novelty, rare experiences, and the genuinely new.

Wonder, the Rainbow, and the Aesthetics of Rare Experiences

"A gathering of major importance. . . . Fisher brilliantly articulates the distinctive work of 'new historicism' in treating American texts and circumstances. His introduction, together with the consistently high quality of the essays and their remarkable range of approaches, makes this dramatically superior to earlier collections. . . . As a help to working scholars trying to sort out new developments, and as an introduction for graduate students, this will be the best available guide."--T. Walter Herbert, author of Marquesan Encounters: Melville and the Meaning of Civilization

Essays from Representations

The New American Studies

A provocative new way of accounting for the spirit of literary tradition, Still the New World makes a persuasive argument against the reduction of literature to identity questions of race, gender, and ethnicity.

American Literature in a Culture of Creative Destruction

Still the New World

Fisher places the work of George Eliot within the great evolution that constitutes the nineteenth-century English novel. He reports not only about her work, but about an evolving complex literary form. Fisher examines Eliot’s work as responding to “the loss of society,” the breakdown between public life and individua moral history. As trust in the community as a base of moral life weakens, decisive changes occur: the English novel accommodated itself to the disappearance of society and changed from the representation of individuals as members of a social order to the description of the self surrounded by collections of unrelated others.

The Novels of George Eliot

Making Up Society

Breaking off the ordinary flow of experience, the passions create a state of exception. In their suddenness and intensity, they map a personal world, fix and qualify our attention, and impel our actions. Outraged anger drives us to write laws that will later be enforced by impersonal justice. Intense grief at the death of someone in our life discloses the contours of that life to us. Wonder spurs scientific inquiry. The strong current of Western thought that idealizes a dispassionate world has ostracized the passions as quaint, even dangerous. Intense states have come to be seen as symptoms of pathology. A fondness for irony along with our civic ideal of tolerance lead us to prefer the diluted emotional life of feelings and moods. Demonstrating enormous intellectual originality and generosity, Philip Fisher meditates on whether this victory is permanent-and how it might diminish us. From Aristotle to Hume to contemporary biology, Fisher finds evidence that the passions have defined a core of human nature no less important than reason or desire. Traversing the Iliad, King Lear, Moby Dick, and other great works, he discerns the properties of the high-spirited states we call the passions. Are vehement states compatible with a culture that values private, selectively shared experiences? How do passions differ from emotions? Does anger have an opposite? Do the passions give scale, shape, and significance to our experience of time? Is a person incapable of anger more dangerous than someone who is irascible? In reintroducing us to our own vehemence, Fisher reminds us that it is only through our strongest passions that we feel the contours of injustice, mortality, loss, and knowledge. It is only through our personal worlds that we can know the world.

Philip Fisher

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