Cutting across literature, film, art, and philosophy, Art of the Ordinary is a trailblazing, cross-disciplinary engagement with the ordinary and the everyday. Because, writes Richard Deming, the ordinary is always at hand, it is, in fact, too familiar for us to perceive it and become fully aware of it. The ordinary he argues, is what most needs to be discovered and yet is something that can never be approached, since to do so is to immediately change it. Art of the Ordinary explores how philosophical questions can be revealed in surprising places—as in a stand-up comic’s routine, for instance, or a Brillo box, or a Hollywood movie. From negotiations with the primary materials of culture and community, ways of reading "self" and "other" are made available, deepening one’s ability to respond to ethical, social, and political dilemmas. Deming picks out key figures, such as the philosophers Stanley Cavell, Arthur Danto, and Richard Wollheim; poet John Ashbery; artist Andy Warhol; and comedian Steven Wright, to showcase the foundational concepts of language, ethics, and society. Deming interrogates how acts of the imagination by these people, and others, become the means for transforming the alienated ordinary into a presence of the everyday that constantly and continually creates opportunities of investment in its calls on interpretive faculties. In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

The extraordinary story of a young man’s plunge into the unique and wonderful world of the circus—taking readers deep into circus history and its renaissance as a contemporary art form, and behind the (tented) walls of France’s most prestigious circus school. When Duncan Wall visited his first nouveau cirque as a college student in Paris, everything about it—the monochromatic costumes, the acrobat singing Simon and Garfunkel, the juggler reciting Proust—was captivating. Soon he was waiting outside stage doors, eagerly chatting with the stars, and attending circuses two or three nights a week. So great was his enthusiasm that a year later he applied on a whim to the training program at the École Nationale des Arts du Cirque—and was, to his surprise, accepted. Sometimes scary and often funny, The Ordinary Acrobat follows the (occasionally literal) collision of one American novice and a host of gifted international students in a rigorous regimen of tumbling, trapeze, juggling, and clowning. Along the way, Wall introduces readers to all the ambition, beauty, and thrills of the circus’s long history: from hardscrabble beginnings to Gilded Age treasures, and from twentieth-century artistic and economic struggles to its brilliant reemergence in the form of contemporary circus (most prominently through Cirque du Soleil). Readers meet figures past—the father of the circus, Philip Astley; the larger-than-life P. T. Barnum—and present, as Wall seeks lessons from innovative masters including juggler Jérôme Thomas and clown André Riot-Sarcey. As Wall learns, not everyone is destined to run away with the circus—but the institution fascinates just the same. Brimming with surprises, outsized personalities, and plenty of charm, The Ordinary Acrobat delivers all the excitement and pleasure of the circus ring itself.

Traditionally literary modernism has been seen as a movement marked by transcendent epiphanies, episodes of estrangement, and a privileging of the extraordinary. Yet modernist writings often take great pains to describe the material, seemingly insignificant details of daily life. Modernism and the Ordinary upends our perceived notions of the period's literature as it recognizes just how pivotal commonplace activities are to modernist aesthetics. Through pointed readings of prose and poetry from both the U. S. and abroad, Liesl Olson highlights the variety of ways modernist writers represented the quotidian details of modern life, even during times of political crisis and war. Run of the mill experiences like walking to work, eating a sandwich, or mending a dress were often resistant to shock, and these daily actions presented a counter-force to the aesthetic of heightened affect with which modernism is often associated. In a series of persuasively argued chapters, we see how the ordinary operates in its many modernist manifestations: the minutiae of list-making and the decidedly unheroic qualities of Bloom in Joyce's Ulysses; Virginia Woolf's rendering of the ordinary as an affective experience in Mrs. Dalloway; the retreat into daily routine as a refuge from the tumult of World War II in Gertrude Stein's Mrs. Reynolds; Wallace Steven's conception of the commonplace as rooted in pragmatist philosophy; and how Beckett and Proust are simultaneously compelled and repelled by the banalities of modern life. These works are read alongside the ideas of philosophers such as William James, Henri Bergson, and Henri Lefebvre to illustrate how these artists responded to the difficulty of representing the mundane without making it transcendent. A trenchant, richly textured monograph, Modernism and the Ordinary reveals how the non-transformative power of everyday experiences-what Virginia Woolf called the "cotton wool of daily life"-exerts a profound influence on the epoch-defining art of some of the twentieth century's most celebrated writers.

“Out of the Ordinary is one part unembellished documentation and one part verbi-visual equivalent of a Pro Hart work made with nineteenth-century, paint-loaded canons. It is a cultural history, resource for contemporary designers, imaginarium and luminous almanac of an explorer of the stranger species of creativity – from brick art to letterboxes, junk mail, mail art, television, fashion, food, model trains, Disney’s imagineering, amusement parks, feng-shui, Postmodern architecture, human-scale craftsmanship, forgotten Australian architects in China, famous architects (that, perhaps, should be forgotten save for their bow ties), collectors of Sherlock Holmes memorabilia, outsider artists and clients – and none of these things exactly. Everywhere Derham Groves attends to and finds significance in the minutiae of everyday life, inter-association, and those things that affect us so profoundly but remain just outside the purview of the ‘normal.’ And in these things – objects, art, architecture, environment(s) – he finds stories and teaches his reader how to do the same. Out of the Ordinary is also a motivational text. It begins with bricks, perhaps the most standardized and repeatable units of construction, and reveals how they can be used as vehicles for unfettered creativity and not merely for the creation of containers. Groves shows how art and architecture can emerge and receive nourishment from the garbage of the everyday and creative collisions. Groves also calls, albeit subtly, for a turn away from homogeneity, the standardized, and unimaginative or ‘lazy’ design informed by principles of economy, efficiency, utility and function conceived in abstraction. Rather, Groves celebrates the reanimation and/or rejuvenation of place by the makers of anything out of the ordinary (who don’t necessarily pray to the demiurge of good taste) who have created spaces and things through which the creative imagination shines.” – Dr Andrew Chrystall, School of Communication, Journalism and Marketing, Massey University

This “innovative” poetry collection “uses text and image to explore the strangeness inherent in everyday experience” (Publishers Weekly). “I take seven photographs turning / in a circle, a panorama, / but how will I place them hanging / on a wall back home? Something already slipping,” Kathryn Cowles writes. These poems surround a central question: how much of a moment is captured by the mechanisms we use to describe it? How much of the shore, the birds, the feeling? In pursuit of an answer, Cowles leads readers through a sequence of distinct landscapes (islands, plains, mountains, oceans), puzzling over and embracing the valley between literature and lived experience. Along the way, Cowles’s language is light but recursive, rotating around beloved places: a new house, a garden, a seemingly endless plane ride, a battery-operated spit of lamb, a photograph of a battery-operated spit of lamb, dogs, Sue, Ohio. This collection defamiliarizes and refamiliarizes the “actual world,” while navigating toward the clear and substantial stuff of living. Arresting on both visual and textual levels, Maps and Transcripts of the Ordinary World isa collection that lingers in memory and place, in the unsettled distance between reality and its transcriptions. “Deftly shows that as we struggle to transform into language what we see and hear and feel, the results are inevitably incomplete; there’s a gap between what we want to say and what we actually manage.” —Library Journal “The need to catalog, to document, and to mourn are all active forces in Cowles’s poems . . . a work of grappling with the representational and the real and the thin boundaries between them.” —Colorado Review

'In recession-chastened, soddenly staycationing Britain, Foley may well have devised a new bestseller format: a how-to book offering a way of escape ... [a] lovely book' Guardian It has always been difficult to appreciate everyday life, often devalued as dreary, banal and burdensome, and never more so than in a culture besotted with fantasy, celebrity and glamour. Yet, with characteristic wit and earthiness, Michael Foley - author of the bestselling The Age of Absurdity - draws on the works of writers, thinkers and artists who have celebrated and examined the ordinary life, and encourages us to delight in the complexities of the everyday. With astute observation, Foley brings fresh insights to such things as the banality of everyday speech, the madness and weirdness of snobbery, love and sex, and the strangeness of the everyday environment, such as the office. It is all more fascinating, comical and mysterious than you think. Intelligent, funny and entertaining, Foley shows us how to find contentment and satisfaction by embracing the ordinary things in life. 'A convincing argument for the beauty of the seemingly banal… ' Scotsman

From a major British political thinker and activist, a passionate case that both the left and right have lost their faith in ordinary people and must learn to find it again. This is an age of polarization. It’s us vs. them. The battle lines are clear, and compromise is surrender. As Out of the Ordinary reminds us, we have been here before. From the 1920s to the 1950s, in a world transformed by revolution and war, extreme ideologies of left and right fueled utopian hopes and dystopian fears. In response, Marc Stears writes, a group of British writers, artists, photographers, and filmmakers showed a way out. These men and women, including J. B. Priestley, George Orwell, Barbara Jones, Dylan Thomas, Laurie Lee, and Bill Brandt, had no formal connection to one another. But they each worked to forge a politics that resisted the empty idealisms and totalizing abstractions of their time. Instead they were convinced that people going about their daily lives possess all the insight, virtue, and determination required to build a good society. In poems, novels, essays, films, paintings, and photographs, they gave witness to everyday people’s ability to overcome the supposedly insoluble contradictions between tradition and progress, patriotism and diversity, rights and duties, nationalism and internationalism, conservatism and radicalism. It was this humble vision that animated the great Festival of Britain in 1951 and put everyday citizens at the heart of a new vision of national regeneration. A leading political theorist and a veteran of British politics, Stears writes with unusual passion and clarity about the achievements of these apostles of the ordinary. They helped Britain through an age of crisis. Their ideas might do so again, in the United Kingdom and beyond.

Out of the Ordinary: Representations of LGBT Lives is a book that introduces readers to the politics and practices of representation as they apply to the lives and perspectives of lesbian, gay, bisexual and transgender groups and individuals. The chapters collected in this volume issue a challenge to the ordinariness of heterosexuality, and an associated invisibility of those who are situated outside of or beyond the ordinary. The book demonstrates that social and cultural representations serve as both a site of fruitful reinvention and a battleground for the emergence and visibility of ‘non-normative’ voices and interests. It will support readers in developing an in-depth understanding of the politics of sexuality and gender identity alongside a broader appreciation of the diverse terrain and conditions under which a multiplicity of identities are negotiated, contested and regulated in everyday life.

Escape the Ordinary' is an anthology that tells how motivation is a determination that engenders an act. The book overturns incuriousness and urges the recognition of consequence that is defined in terms of motivation. As human beings, being endowed with an inducement that defines what we should pledge in our lives with meaning, and thus we should each have an obvious key of urge to prevail over hardships in our lives. This book will give the energy to pursue a certain goal. The contents presented by the authors will give a direction to an established and well-understood objective. Clearly setting our sights on a goal-oriented mind to our actions and behaviors will lead to endless success.

Explores miracles as dimensions of everyday existence through the lens of religious naturalism. Miracles are usually regarded as an intrusion of a supernatural force upsetting the normal workings and laws of the universe, but if one is attentive to the natural world, one can instead find miracles beneath the surface of everyday existence. This outlook is part of Donald A. Crosby’s religious naturalism, which he terms Religion of Nature, a belief system that posits the natural world to be the only world, without any underlying or transcending supernatural being, presence, or power. In The Extraordinary in the Ordinary, Crosby explores seven types of everyday miracles, such as time, language, and love, to show that the miraculous and ordinary are not opposed to each other. Rather, it is when we acknowledge the sacred depths and dimensions of everyday existence that we recognize the miracles that constantly surround us.