Colonial America presented a new world of natural curiosities for settlers as well as the London-based scientific community. In American Curiosity, Susan Scott Parrish examines how various peoples in the British colonies understood and represented the natural world around them from the late sixteenth century through the eighteenth. Parrish shows how scientific knowledge about America, rather than flowing strictly from metropole to colony, emerged from a horizontal exchange of information across the Atlantic. Delving into an understudied archive of letters, Parrish uncovers early descriptions of American natural phenomena as well as clues to how people in the colonies construed their own identities through the natural world. Although hierarchies of gender, class, institutional learning, place of birth or residence, and race persisted within the natural history community, the contributions of any participant were considered valuable as long as they supplied novel data or specimens from the American side of the Atlantic. Thus Anglo-American nonelites, women, Indians, and enslaved Africans all played crucial roles in gathering and relaying new information to Europe. Recognizing a significant tradition of nature writing and representation in North America well before the Transcendentalists, American Curiosity also enlarges our notions of the scientific Enlightenment by looking beyond European centers to find a socially inclusive American base to a true transatlantic expansion of knowledge.

Astrophysicist and author Mario Livio investigates perhaps the most human of all our characteristics—curiosity—in this “lively, expert, and definitely not dumbed-down account” (Kirkus Reviews) as he explores our innate desire to know why. Experiments demonstrate that people are more distracted when they overhear a phone conversation—where they can know only one side of the dialogue—than when they overhear two people talking and know both sides. Why does half a conversation make us more curious than a whole conversation? “Have you ever wondered why we wonder why? Mario Livio has, and he takes you on a fascinating quest to understand the origin and mechanisms of our curiosity. I thoroughly recommend it.” (Adam Riess, Nobel Prize Winner in Physics, 2011). Curiosity is not only at the heart of mystery and suspense novels, it is also essential to other creative endeavors, from painting to sculpture to music. It is the principal driver of basic scientific research. Even so, there is still no definitive scientific consensus about why we humans are so curious, or about the mechanisms in our brain that are responsible for curiosity. In the ever-fascinating Why? Livio interviewed scientists in several fields to explore the nature of curiosity. He examined the lives of two of history’s most curious geniuses, Leonardo da Vinci and Richard Feynman. He also talked to people with boundless curiosity: a superstar rock guitarist who is also an astrophysicist; an astronaut with degrees in computer science, biology, literature, and medicine. What drives these people to be curious about so many subjects? An astrophysicist who has written about mathematics, biology, and now psychology and neuroscience, Livio has firsthand knowledge of his subject which he explores in a lucid, entertaining way that will captivate anyone who is curious about curiosity.

The first English-language collection to establish curiosity studies as a unique field From science and technology to business and education, curiosity is often taken for granted as an unquestioned good. And yet, few people can define curiosity. Curiosity Studies marshals scholars from more than a dozen fields not only to define curiosity but also to grapple with its ethics as well as its role in technological advancement and global citizenship. While intriguing research on curiosity has occurred in numerous disciplines for decades, no rigorously cross-disciplinary study has existed—until now. Curiosity Studies stages an interdisciplinary conversation about what curiosity is and what resources it holds for human and ecological flourishing. These engaging essays are integrated into four clusters: scientific inquiry, educational practice, social relations, and transformative power. By exploring curiosity through the practice of scientific inquiry, the contours of human learning, the stakes of social difference, and the potential of radical imagination, these clusters focus and reinvigorate the study of this universal but slippery phenomenon: the desire to know. Against the assumption that curiosity is neutral, this volume insists that curiosity has a history and a political import and requires precision to define and operationalize. As various fields deepen its analysis, a new ecosystem for knowledge production can flourish, driven by real-world problems and a commitment to solve them in collaboration. By paying particular attention to pedagogy throughout, Curiosity Studies equips us to live critically and creatively in what might be called our new Age of Curiosity. Contributors: Danielle S. Bassett, U of Pennsylvania; Barbara M. Benedict, Trinity College; Susan Engel, Williams College; Ellen K. Feder, American U; Kristina T. Johnson, Massachusetts Institute of Technology; Narendra Keval; Christina León, Princeton U; Tyson Lewis, U of North Texas; Amy Marvin, U of Oregon; Hilary M. Schor, U of Southern California; Seeta Sistla, Hampshire College; Heather Anne Swanson, Aarhus U.

An exhilarating, genre-bending exploration of curiosity’s powerful capacity to connect ideas and people. Curious about something? Google it. Look at it. Ask a question. But is curiosity simply information seeking? According to this exhilarating, genre-bending book, what’s left out of the conventional understanding of curiosity are the wandering tracks, the weaving concepts, the knitting of ideas, and the thatching of knowledge systems—the networks, the relations between ideas and between people. Curiosity, say Perry Zurn and Dani Bassett, is a practice of connection: it connects ideas into networks of knowledge, and it connects knowers themselves, both to the knowledge they seek and to each other. Zurn and Bassett—identical twins who write that their book “represents the thought of one mind and two bodies”—harness their respective expertise in the humanities and the sciences to get irrepressibly curious about curiosity. Traipsing across literatures of antiquity and medieval science, Victorian poetry and nature essays, as well as work by writers from a variety of marginalized communities, they trace a multitudinous curiosity. They identify three styles of curiosity—the busybody, who collects stories, creating loose knowledge networks; the hunter, who hunts down secrets or discoveries, creating tight networks; and the dancer, who takes leaps of creative imagination, creating loopy ones. Investigating what happens in a curious brain, they offer an accessible account of the network neuroscience of curiosity. And they sketch out a new kind of curiosity-centric and inclusive education that embraces everyone’s curiosity. The book performs the very curiosity that it describes, inviting readers to participate—to be curious with the book and not simply about it.

For more than one hundred years, tourists and residents alike have flocked to Ye Olde Curiosity Shop, located on Seattle's waterfront. Here a mummy nicknamed Sylvester, a collection of shrunken heads from Ecuador, a two-headed calf, and a mermaid preside over walls and cases crammed with an incredible jumble of souvenirs and trinkets, intermixed with authentic Northwest Coast and Alaskan Eskimo carvings, baskets, blankets, and other artworks. The guestbook records visits by Theodore Roosevelt, Will Rogers, Jack Dempsey, Charlie Chaplin, J. Edgar Hoover, Katherine Hepburn, John Wayne, Sylvester Stallone, and Queen Marie of Rumania, among many others. Ye Olde Curiosity Shop was founded in 1899 by Joseph E. "Daddy" Standley, an Ohio-born curio collector who came to Seattle in the late 1890s during the Yukon gold rush. Although Native American material vied for space with exotica from all corners of the globe, it soon grew to be the mainstay of the shop, which became identified with the whalebones displayed outside and the "piles of old Eskimo relics" within. Also to be found were baskets, moccasins, ivory carving from Alaska, Tlingit spruce root baskets, Haida "jadeite" totem poles, masks, paddles, and other curiosities from the Northwest Coast. Indians from the Olympic Peninsula brought baskets, coming up to the back door of the shop in their canoes. Others, originally from British Columbia but now living on the flats not far from the shop, carved miniature totem poles by the hundreds and full-size poles on commission. Trading companies supplied Indian curios from the Plains, Southwest, and California. An art historian trained in the classic arts of the Northwest Coast, Kate Duncan became interested in the history of the shop when she learned that it had not only been an active participant in Seattle's 1909 Alaska-Yukon-Pacific Exposition but had also been a major source of important Northwest Coast collections in many museums, including, among others, the Royal Ontario Museum, the George G. Heye Collection (now in the Smithsonian's Museum of the American Indian), the Washington State Museum, the Newark Museum, the Portland Art Museum, and the American Museum of Natural History. Granted full access by the present owners - grandson and great-grandson of "Daddy" Standley - to the remarkably complete archives maintained from the time the shop opened, Duncan has provided a fascinating chapter in the history of Seattle, especially in its early years, as well as a significant contribution to the literature on tourist arts and collecting. Kate Duncan, professor of art at Arizona State University, is also the author of Northern Athapaskan Art: A Beadwork Tradition, and coauthor of A Special Gift: The Kutchin Beadwork Tradition and Out of the North: The Subarctic Collection of the Haffenreffer Museum of Anthropology.

For the first time, the pioneering book that launched the study of art and curiosity cabinets is available in English. Julius von Schlosser’s Die Kunst- und Wunderkammern der Spätrenaissance (Art and Curiosity Cabinets of the Late Renaissance) is a seminal work in the history of art and collecting. Originally published in German in 1908, it was the first study to interpret sixteenth- and seventeenth-century cabinets of wonder as precursors to the modern museum, situating them within a history of collecting going back to Greco-Roman antiquity. In its comparative approach and broad geographical scope, Schlosser’s book introduced an interdisciplinary and global perspective to the study of art and material culture, laying the foundation for museum studies and the history of collections. Schlosser was an Austrian professor, curator, museum director, and leading figure of the Vienna School of art history whose work has not achieved the prominence of his contemporaries until now. This eloquent and informed translation is preceded by Thomas DaCosta Kaufmann’s substantial introduction. Tracing Schlosser’s biography and intellectual formation in Vienna at the turn of the twentieth century, it contextualizes his work among that of his contemporaries, offering a wealth of insights along the way.

This riveting novel in verse, perfect for fans of Jacqueline Woodson and Toni Morrison, explores American history and race through the eyes of a teenage boy embracing his newfound identity Connor’s grandmother leaves his dad a letter when she dies, and the letter’s confession shakes their tight-knit Italian-American family: The man who raised Dad is not his birth father. But the only clues to this birth father’s identity are a class ring and a pair of pilot’s wings. And so Connor takes it upon himself to investigate—a pursuit that becomes even more pressing when Dad is hospitalized after a stroke. What Connor discovers will lead him and his father to a new, richer understanding of race, identity, and each other.