Skip to main content

Top 10 books about self-improvement | Anna Katharina Schaffner

In time for new year resolutions, a cultural historian chooses some of the best guides to making a better life, dating back to some of our earliest literature

It is easy to dismiss self-help books and those who read them. But not only do we need serious self-help, we must also take self-help more seriously. Valued at $11bn (£8bn) worldwide, self-help is a major global industry. It both reflects and generates many of our prevailing ideas about the self and about the cultures in which we live. The self-help industry not only seeks to shape the way in which we think, feel and behave, but also provides many of the core metaphors on which we rely to talk about our inner lives. Many of those metaphors, not least that of the mind as a computer that might require reprogramming, are at best unhelpful.

Critics of self-help believe that its current popularity is part of an all-pervasive neoliberal imperative to maximise efficiency. They see it as a sinister plot to direct all responsibility for our wellbeing back upon ourselves. Self-help, they feel, casts all our problems as personal, and our failures as owing to a lack of willpower and resilience, when they are in fact caused by the politics of capitalism. But while this may be true of some self-help, the idea of self-improvement has a long and rich history, extending back to ancient wisdom traditions. The wish to improve ourselves is bound up with our need for self-knowledge, for mastery and for transformation. It is a timeless desire and an essential part of what makes us human.

Continue reading...

from Culture | The Guardian https://ift.tt/3z907PX
Labels:

Comments

Post a Comment

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4
Post a Comment
Read more

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV
Post a Comment
Read more

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...
Post a Comment
Read more