“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

Out of the Ordinary is Jon Ronson at his inimitable best: hilarious, thought-provoking and with an unerring eye for human frailty – not least his own. Jon Ronson's subjects have included people who believe that goats can be killed by the power of a really hard stare, and people who believe that the world is ruled by twelve-foot lizard-men. In Out of the Ordinary, a collection of his journalism from the Guardian, he turns his attention to irrational beliefs much closer to home, investigating the ways in which we sometimes manage to convince ourselves that all manner of lunacy makes perfect sense – mainstream, domestic, ordinary insanity. Whether he finds himself promising his son that he will be at his side for ever, dressed in a Santa costume, or trying to understand why hundreds of apparently normal people would suddenly start speaking in tongues in a Scout hut in Kidderminster, he demonstrates repeatedly how we all succumb to deeply irrational beliefs that grow to inform our everyday existence.

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.

Rollicking New Release from Humorous Historical Romance Author Jen Turano Miss Gertrude Cadwalader hoped her position as the paid companion to Mrs. Davenport would be easy. But as she becomes acquainted with her employer, she realizes the wealthy Mrs. Davenport has a strange tendency to be a bit light-fingered with other people's trinkets. Gertrude is relieved when Mrs. Davenport decides to have a quiet summer away from the social scene--until the woman changes her mind in order to help a young socialite launch into society. When Gertrude is caught in the act of trying to return one of the trinkets by Mrs. Sinclair, the mother of shipping magnate Harrison Sinclair, the woman jumps to an unfortunate conclusion. Harrison is determined to mend fences with Miss Cadwalader, but he's unprepared for the escapades a friendship with her will entail.

How mundane experience plays a striking role in daily existence

The raw, candid, unvarnished memoir of an icon. The greatest movie star of the past 75 years covers everything: his traumatic childhood, his career, his drinking, his thoughts on Marlon Brando, James Dean, Elizabeth Taylor, his greatest roles, acting, his intimate life with Joanne Woodward, his innermost fears and passions and joys. With thoughts/comments throughout from Joanne Woodward, Tom Cruise and many others. As seen in The Last Movie Stars documentary. In 1986, Paul Newman and his closest friend, screenwriter Stewart Stern, began an extraordinary project. Stuart was to compile an oral history, to have Newman's family and friends and those who worked closely with him, talk about the actor's life. And then Newman would work with Stewart and give his side of the story. The only stipulation was that anyone who spoke on the record had to be completely honest. That same stipulation applied to Newman himself. The project lasted five years. The result is an extraordinary memoir, culled from thousands of pages of transcripts. The book is insightful, revealing, surprising. Newman's voice is powerful, sometimes funny, sometimes painful, always meeting that high standard of searing honesty. The additional voices - from childhood friends and Navy buddies, from family members and film and theater collaborators such as Tom Cruise, George Roy Hill, Martin Ritt, and John Huston - that run throughout add richness and color and context to the story Newman is telling. Newman's often traumatic childhood is brilliantly detailed. He talks about his teenage insecurities, his early failures with women, his rise to stardom, his early rivals (Brando and Dean), his first marriage, his drinking, his philanthropy, the death of his son Scott, his strong desire for his daughters to know and understand the truth about their father. Perhaps the most moving material in the book centers around his relationship with Joanne Woodward - their love for each other, his dependence on her, the way she shaped him intellectually, emotionally and sexually. THE EXTRAORDINARY LIFE OF AN ORDINARY MAN is revelatory and introspective, personal and analytical, loving and tender in some places, always complex and profound.

The standard interpretation keeps repeating that Camus is the prototypical “absurdist” thinker. Such a reading freezes Camus at the stage at which he wrote The Stranger and The Myth of Sisyphus. By taking seriously how (1) Camus was always searching and (2) the rest of his corpus, Albert Camus and the Philosophy of the Ordinary corrects the one-sided, and thus faulty, depiction of Camus as committed to a philosophy of absurdism. His guiding project, which he explicitly acknowledged, was an attempt to get beyond nihilism, the general dismissal of value and meaning in ordinary life. Tracing this project via Camus's works, Albert Camus and the Philosophy of the Ordinary, offers a new lens for thinking about the well-known author.

'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

Modernism and the Ordinary overturns conventional accounts of the modernist period as primarily drawn toward the new, the transcendent, and the extraordinary. Liesl Olson shows how modernist writers were preoccupied, instead, with the unselfconscious actions of everyday life, even in times of political crisis and war. Experiences like walking to work, eating a sandwich, or mending a dress were often resistant to shock, and these daily activities presented a counter-force to the aesthetic of heightened affect with which the period is often associated. With attentive and sensitive readings, Modernism and the Ordinary examines works by Joyce, Woolf, Stein, Stevens, Proust, Beckett, and Auden alongside the ideas of philosophers such as Henri Bergson and William James. In doing so, the book reveals the non-transformative power of the ordinary as one of modernism's most compelling attributes.