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Today we consider privacy a right to be protected. But in eighteenth-century England, privacy was seen as a problem, even a threat. Women reading alone and people hiding their true thoughts from one another in conversation generated fears of uncontrollable fantasies and profound anxieties about insincerity.In Privacy, Patricia Meyer Spacks explores eighteenth-century concerns about privacy and the strategies people developed to avoid public scrutiny and social pressure. She examines, for instance, the way people hid behind common rules of etiquette to mask their innermost feelings and how, in fact, people were taught to employ such devices. She considers the erotic overtones that privacy aroused in its suppression of deeper desires. And perhaps most important, she explores the idea of privacy as a societal threat—one that bred pretense and hypocrisy in its practitioners. Through inspired readings of novels by Defoe, Richardson, Fielding, and Sterne, along with a penetrating glimpse into diaries, autobiographies, poems, and works of pornography written during the period, Spacks ultimately shows how writers charted the imaginative possibilities of privacy and its social repercussions.Finely nuanced and elegantly conceived, Spacks's new work will fascinate anyone who has relished concealment or mourned its recent demise.

Today we consider privacy a right to be protected. But in eighteenth-century England, privacy was seen as a problem, even a threat. Women reading alone and people hiding their true thoughts from one another in conversation generated fears of uncontrollable fantasies and profound anxieties about insincerity.In Privacy, Patricia Meyer Spacks explores eighteenth-century concerns about privacy and the strategies people developed to avoid public scrutiny and social pressure. She examines, for instance, the way people hid behind common rules of etiquette to mask their innermost feelings and how, in fact, people were taught to employ such devices. She considers the erotic overtones that privacy aroused in its suppression of deeper desires. And perhaps most important, she explores the idea of privacy as a societal threat—one that bred pretense and hypocrisy in its practitioners. Through inspired readings of novels by Defoe, Richardson, Fielding, and Sterne, along with a penetrating glimpse into diaries, autobiographies, poems, and works of pornography written during the period, Spacks ultimately shows how writers charted the imaginative possibilities of privacy and its social repercussions.Finely nuanced and elegantly conceived, Spacks's new work will fascinate anyone who has relished concealment or mourned its recent demise.

In this remarkable and often unsettling book, Sumana Roy gives us a new vision of what it means to be human in the natural world. Increasingly disturbed by the violence, hate, insincerity, greed and selfishness of her kind, the author is drawn to the idea of becoming a tree. 'I was tired of speed', she writes, 'I wanted to live to tree time.' Besides wanting to emulate the spacious, relaxed rhythm of trees, she is drawn to their non-violent ways of being, how they tread lightly upon the earth, their ability to cope with loneliness and pain, the unselfishness with which they give freely of themselves and much more. She gives us new readings of the works of writers, painters, photographers and poets (Rabindranath Tagore and D. H. Lawrence among them) to show how trees and plants have always fascinated us. She studies the work of remarkable scientists like Jagadish Chandra Bose and key spiritual figures like the Buddha to gain even deeper insights into the world of trees. She writes of those who have wondered what it would be like to have sex with a tree, looks into why people marry trees, explores the death and rebirth of trees and tells us why a tree was thought by forest-dwellers to be equal to ten sons.Mixing memoir, literary history, nature studies, spiritual philosophies and botanical research, How I Became a Tree is a book that will prompt readers to think of themselves and the natural world that they are an intrinsic part of, in fresh ways. It is that rarest of things - A truly original work of art.