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A pair of leading psychologists argues that prejudice toward others is often an unconscious part of the human psyche, providing an analysis of the science behind biased feelings while sharing guidelines for identifying and learning from hidden prejudices. 15,000 first printing.
I know my own mind. I am able to assess others in a fair and accurate way. These self-perceptions are challenged by leading psychologists Mahzarin R. Banaji and Anthony G. Greenwald as they explore the hidden biases we all carry from a lifetime of exposure to cultural attitudes about age, gender, race, ethnicity, religion, social class, sexuality, disability status, and nationality. “Blindspot” is the authors’ metaphor for the portion of the mind that houses hidden biases. Writing with simplicity and verve, Banaji and Greenwald question the extent to which our perceptions of social groups—without our awareness or conscious control—shape our likes and dislikes and our judgments about people’s character, abilities, and potential. In Blindspot, the authors reveal hidden biases based on their experience with the Implicit Association Test, a method that has revolutionized the way scientists learn about the human mind and that gives us a glimpse into what lies within the metaphoric blindspot. The title’s “good people” are those of us who strive to align our behavior with our intentions. The aim of Blindspot is to explain the science in plain enough language to help well-intentioned people achieve that alignment. By gaining awareness, we can adapt beliefs and behavior and “outsmart the machine” in our heads so we can be fairer to those around us. Venturing into this book is an invitation to understand our own minds. Brilliant, authoritative, and utterly accessible, Blindspot is a book that will challenge and change readers for years to come. Praise for Blindspot “Conversational . . . easy to read, and best of all, it has the potential, at least, to change the way you think about yourself.”—Leonard Mlodinow, The New York Review of Books “Accessible and authoritative . . . While we may not have much power to eradicate our own prejudices, we can counteract them. The first step is to turn a hidden bias into a visible one. . . . What if we’re not the magnanimous people we think we are?”—The Washington Post “Banaji and Greenwald deserve a major award for writing such a lively and engaging book that conveys an important message: Mental processes that we are not aware of can affect what we think and what we do. Blindspot is one of the most illuminating books ever written on this topic.”—Elizabeth F. Loftus, Ph.D., distinguished professor, University of California, Irvine; past president, Association for Psychological Science; author of Eyewitness Testimony “A wonderfully cogent, socially relevant, and engaging book that helps us think smarter and more humanely. This is psychological science at its best, by two of its shining stars.”—David G. Myers, professor, Hope College, and author of Intuition: Its Powers and Perils “[The authors’] work has revolutionized social psychology, proving that—unconsciously—people are affected by dangerous stereotypes.”—Psychology Today “An accessible and persuasive account of the causes of stereotyping and discrimination . . . Banaji and Greenwald will keep even nonpsychology students engaged with plenty of self-examinations and compelling elucidations of case studies and experiments.”—Publishers Weekly “A stimulating treatment that should help readers deal with irrational biases that they would otherwise consciously reject.”—Kirkus Reviews From the Hardcover edition.
I know my own mind. I am able to assess others in a fair and accurate way. “Blindspot” is the authors’ metaphor for the portion of the mind that houses hidden biases. Writing with simplicity and verve, Banaji and Greenwald explain the science that shapes our likes and dislikes and our judgments about people’s character, abilities and potential. The book uses the Implicit Association Test, a method that has revolutionized the way scientists learn about the human mind and that gives us a glimpse into what lies within the blindspot. The “good people” in the subtitle refers to all of us who strive to align our behavior with our intentions.
In this dark and gripping psychological tale, Ophelia, a woman whose identity was fractured into five separate personalities by her father’s satanic rituals, seeks love, justice and unification. The road to hell is paved with gold, an illusion of the setting sun. The month is October. The year is 1946. The road is in Michigan, north of Detroit. The novel opens with the birth of the fourth alternate personality of a tormented child. Identity dissociation is the mind ́s defense against relentless childhood abuse. Multiple Personality Disorder is the extreme result. When the third alter, too frightened to cope, flees into temporary amnesia, the fourth girl emerges. The first sound she hears is a man ́s voice. He calls her Faith but she isn ́t Faith. Faith is the name of the first girl. She is Ophelia, the novel ́s narrator. Her journey through life begins as the unwilling witness to murder. Her father is the murderer. She falls into a state of oblivion, a black hole of the mind. The next time Ophelia opens her eyes she is inside a house filled with art and music and an aura of evil. The idyllic setting, the shores of a small lake north of Detroit, conceals a sinister reality. On these shores and in nearby woods, gods and demons compete for human souls. Good and evil, free will and fate, fidelity and fanaticism, sacred oaths and prophecies determine the outcome. Ophelia ́s mother is an artist. Her father, Max Mahler, is a brilliant, handsome, charismatic physician. He is also the prophet of a satanic cult, its god the master of the moon. He spins a web of myths and lies and fantasies to lure disciples. His daughter is the victim of sadistic rituals performed to appease the demon ́s lust. Fragmentation is her mind ́s defense. The alters survive by sharing the suffering. In this complex novel, nothing is what it first seems to be. Ophelia ́s first days in a hell of her father ́s creation are a jumble of confused activity. Sometimes she observes a red-haired girl who looks like her, an alter. Sometimes she takes her place. The five alters have separate memories, talents and identities. The descriptions of the bizarre rituals are disturbing, graphic and explicit. They leave no doubt that the girl whose identity splinters is smart and brave. Fragmentation is not an act of cowardice. Ophelia soon becomes the dominant personality. At nineteen, she plots her escape with courage and cunning. She leaves, taking her infant daughter with her. Max lets her go. He knows she’ll return on a predetermined date. The story picks up 25 years later. Ophelia is a mother, a teacher of philosophy, and an artist who has found love, but she hasn’t truly escaped. Her father has located her. Lured by the offer of her mother ́s art, she returns, her pagan faith intact. She is the princess in the tower who has to save herself in order to save others. When her father and half-brother snatch her young granddaughter, she stands in their way. Her courage when she faces two armed men grants the unity she both craves and fears, her god’s gift to her. Her father’s vengeful god takes what belongs to him in death and conflagration. Despite dark psychological undertones and pervasive religious satire,the novel is in essence a romance. The hero is noble. The heroine is beautiful, smart, and brave. Blindspot reads like a myth, a disturbing fantasy. The specific cult is fictional, but horrific acts in the name of religion are not. Memory is the key to identity. When identity is fractured, a question arises. Is the woman who survives parental molestation a reliable narrator, or does her road to hell begin with a single act of intolerable violence and end in a nightmare that unfolds in her mind?
In Boston in 1764, the sudden death of revolutionary leader Samuel Bradstreet causes Scottish portrait painter Stewart Jameson and his apprentice Francis Weston, to search for the truth. Jameson is a Scottish portrait painter who, having fled his debtors in Edinburgh, has washed up on America's far shores. Eager to begin anew in this new world, he advertises for an apprentice, but the lad who comes knocking is no lad at all. Fanny Easton is a lady in disguise, a young, fallen woman from Boston's most prominent family; she becomes Jameson's defiant and seductive apprentice, Francis Weston. Liberty is what everyone's seeking in boisterous, rebellious Boston on the eve of the American Revolution. But everyone suffers from a kind of blind spot, too. Jameson, distracted by his haunted past, can't see that Fanny is a woman; Fanny, consumed with her own masquerade, can't tell that Jameson is falling in love with her. The city's Sons of Liberty can't quite see their way clear, either. "Ably do they see the shackles Parliament fastens about them," Jameson writes, "but to the fetters they clasp upon their own slaves, they are strangely blind."
A critical examination of the history of US-Palestinian relations The United States has invested billions of dollars and countless diplomatic hours in the pursuit of Israeli-Palestinian peace and a two-state solution. Yet American attempts to broker an end to the conflict have repeatedly come up short. At the center of these failures lay two critical factors: Israeli power and Palestinian politics. While both Israelis and Palestinians undoubtedly share much of the blame, one also cannot escape the role of the United States, as the sole mediator in the process, in these repeated failures. American peacemaking efforts ultimately ran aground as a result of Washington’s unwillingness to confront Israel’s ever-deepening occupation or to come to grips with the realities of internal Palestinian politics. In particular, the book looks at the interplay between the U.S.-led peace process and internal Palestinian politics—namely, how a badly flawed peace process helped to weaken Palestinian leaders and institutions and how an increasingly dysfunctional Palestinian leadership, in turn, hindered prospects for a diplomatic resolution. Thus, while the peace process was not necessarily doomed to fail, Washington’s management of the process, with its built-in blind spot to Israeli power and Palestinian politics, made failure far more likely than a negotiated breakthrough. Shaped by the pressures of American domestic politics and the special relationship with Israel, Washington’s distinctive “blind spot” to Israeli power and Palestinian politics has deep historical roots, dating back to the 1917 Balfour Declaration and the British Mandate. The size of the blind spot has varied over the years and from one administration to another, but it is always present.
American Blindspot: Race, Class, Religion, and the Trump Presidency is a careful exploration of the forces that led to the election of the 45th president of the United States.Author Gerardo Martí synthesizes the latest scholarship and historical research to examine the roles that race, class, and religion have played in politics—both historically and today. This book goes beyond the initial claims that the American working class was the force behind Donald Trump’s election or policies and instead offers a nuanced perspective on how race, religion, and class have shaped our national views, Trump’s election, and his policies.
When it comes to Teju Cole, the unexpected is not unfamiliar: He's an acclaimed novelist, an influential essayist, and an internationally exhibited photographer. In Blind Spot, readers follow Cole's inimitable artistic vision into the visual realm as he continues to refine the voice, eye, and intellectual obsessions that earned him such acclaim for Open City. Here, journey through more than 150 of Cole's full-color, original photos, each accompanied by his lyrical and evocative prose, forming a multimedia diary of years of near-constant travel: from a park in Berlin to a mountain range in Switzerland, a church exterior in Lagos to a parking lot in Brooklyn; landscapes, beautiful or quotidian, that inspire Cole's memories, fantasies, and introspections. Ships in Capri remind him of the work of writers from Homer to Edna O'Brien; a hotel room in Wannsee brings back a disturbing dream about a friend's death; a home in Tivoli evokes a transformative period of semi-blindness, after which "the photography changed. . . . The looking changed." As exquisitely wrought as the work of Anne Carson or Chris Marker, Blind Spot is a testament to the art of seeing by one of the most powerful and original voices in contemporary literature.