The Human Touch
Our Part in the Creation of a Universe
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- CHF 13.00
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- CHF 13.00
Beschreibung des Verlags
'Imaginative, funny and dazzlingly clever.' John Carey, Sunday Times
Mankind, scientists agree, is a tiny and insignificant anomaly in the impersonal vastness of the universe. But what would that universe be like if we were not here to say something about it? Would it even be so vast, without the fact of our insignificance to give it scale?
This paradox is what Michael Frayn calls 'the world's oldest mystery'. He shows how fleeting and indeterminate our contacts with the world around us are. The world is what we make of it - but what are we?
'The breadth of [Frayn's] reading is awesome and he is fearless in interpreting, and in some cases attacking, the philosophical or scientific dogmas of this or that revered savant. Everywhere he is eminently sensible, especially when he is making nonsense of our illusory certainties.' John Banville
'Brilliant and engaging ... A dazzling and entertaining dialogue between [Frayn] and the reader.' Patrick Masterson, Irish Times
PUBLISHERS WEEKLY
British playwright and novelist Frayn has nursed a serious interest in philosophy since studying it at Cambridge in the 1950s, a fact that won't surprise fans of the writer best known for his 1982 farce, Noises Off, and award-winning 1998 drama, Copenhagen. This bold, original spin on the role of the human imagination in the construction of reality reflects the same robust intellectual curiosity, keen powers of observation and ingenious sense of humor that characterize all his work. Ranging over science, mathematics, philosophy, psychology and linguistics with a grasp that would be admirable in a professional but is astounding in a self-confessed amateur Frayn rigorously exposes the human scaffolding propping up what we like to see as a detached, neatly ordered universe. Gazing both outwardly at the indeterminate cosmos suggested by relativity and quantum mechanics, and inwardly at the slippery constructions of consciousness and our sense of self, he focuses on the narrative compulsion that arises from the continual "traffic" between human beings and their ever-changing, ephemeral surroundings. Frayn's dogged unraveling of determinist assumptions and the occasionally mind-bending minutiae of theories, arguments and counterarguments can get taxing, despite lucid and witty prose. But Frayn's ecstatic embrace of a human-made universe is a fascinatingly persuasive ride.
