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This is a fine, provocative book, and much richer in its provocations than I have had room to discuss here. Moreover, Spolsky demonstrates in it the improvisation she locates in art and nature. The same can be said of her relation to her own work. Spolsky has been working on this daunting project for a long time, making do with what she can get her hands on, adapting, revising, discarding. A good example of her attitude is that, unlike a recovering poststructuralist or polemical evolutionist, Spolsky has never disavowed the importance of key post-structural insights even as she digs into the science that for many was a relief from the heady (pun intended) abstraction of continental thought...Her method...is a method of intellectual bricolage that mirrors the deep evolutionary structure of making do with what is...Revolutions that seek to wipe the methodological slate clean endanger their own survival. --H. Porter Abbott, Poetics Today Why do all people everywhere of all ages in all societies over all history and throughout the entire world invest nearly inconceivable resources in imaginative fiction-dreams, daydreams, simulations, counterfactual scenarios, possibilities, reveries, poems, plays, films, cartoons, tragedies, comedies, dramas? The scientific question is open, grand, and fundamental. Ellen Spolsky's cognitive defense of fiction is a major contribution. --Mark Turner, Institute Professor and Professor of Cognitive Science, Case Western Reserve University Instability, failure, and representational hunger afford individuals and societies 'the freedom to reimagine and change direction,' while art and literature are the protected spaces for such reimagining. To explain how this works, Spolsky brings together cutting-edge research in evolutionary biology, social and legal history, and literary criticism. Brilliant, witty, reader-friendly, The Contracts of Fiction is the gold standard of cognitive literary studies. This is the scholarship of the future. --Lisa Zunshine, editor of The Oxford Handbook of Cognitive Literary Studies Extending the author's pioneering efforts to foster dialogue between literary studies and the cognitive sciences, Ellen Spolsky's The Contracts of Fiction shows how a range of artifacts--poetry as well as drama, narratives as well as static images--can both illuminate and be illuminated by research concerned with culture, communities, and cognition, including evolutionary psychology, categorization theory, memory research, accounts of embodied and socially distributed cognition, and work on the biology of conscious life more generally. --David Herman, author of Storytelling and the Sciences of the Mind The Contracts of Fiction asks why we invest so much energy producing, consuming, and sharing fictions despite their evident lack of truth value. Deftly recruiting concepts from the biological and cognitive sciences to the aid of literary theory, Ellen Spolsky produces the most compelling synthesis to date of cognitive, evolutionary, and literary understandings of the human imagination. --Alan Richardson, author of The Neural Sublime Spolsky's impressive range of reading testifies to her desire to ground her arguments in scientific substance...behind the entire study is a noble critical vision: to redeem the literary arts as expressions of our grounded evolutionary natures, and for this reason I fully endorse the pioneering spirit of this study. It is worth every minute of the time and attention it requires. -- Renaissance Quarterly An engaging, perceptive, and innovative book. --Renaissance Quarterly

Why do all people everywhere of all ages in all societies over all history and throughout the entire world invest nearly inconceivable resources in imaginative fiction-dreams, daydreams, simulations, counterfactual scenarios, possibilities, reveries, poems, plays, films, cartoons, tragedies, comedies, dramas? The scientific question is open, grand, and fundamental. Ellen Spolsky's cognitive defense of fiction is a major contribution. --Mark Turner, Institute Professor and Professor of Cognitive Science, Case Western Reserve University Instability, failure, and representational hunger afford individuals and societies 'the freedom to reimagine and change direction, ' while art and literature are the protected spaces for such reimagining. To explain how this works, Spolsky brings together cutting-edge research in evolutionary biology, social and legal history, and literary criticism. Brilliant, witty, reader-friendly, The Contracts of Fiction is the gold standard of cognitive literary studies. This is the scholarship of the future. --Lisa Zunshine, editor of The Oxford Handbook of Cognitive Literary Studies Extending the author's pioneering efforts to foster dialogue between literary studies and the cognitive sciences, Ellen Spolsky's The Contracts of Fiction shows how a range of artifacts--poetry as well as drama, narratives as well as static images--can both illuminate and be illuminated by research concerned with culture, communities, and cognition, including evolutionary psychology, categorization theory, memory research, accounts of embodied and socially distributed cognition, and work on the biology of conscious life more generally. --David Herman, author of Storytelling and the Sciencesof the Mind The Contracts of Fiction asks why we invest so much energy producing, consuming, and sharing fictions despite their evident lack of truth value. Deftly recruiting concepts from the biological and cognitive sciences to the aid of literary theory, Ellen Spolsky produces the most compelling synthesis to date of cognitive, evolutionary, and literary understandings of the human imagination. --Alan Richardson, author of The Neural Sublime

The Contracts of Fiction asks why we invest so much energy producing, consuming, and sharing fictions despite their evident lack of truth value. Deftly recruiting concepts from the biological and cognitive sciences to the aid of literary theory, Ellen Spolsky produces the most compelling synthesis to date of cognitive, evolutionary, and literary understandings of the human imagination. * Alan Richardson, author of The Neural Sublime * Extending the author's pioneering efforts to foster dialogue between literary studies and the cognitive sciences, Ellen Spolsky's The Contracts of Fiction shows how a range of artifacts * poetry as well as drama, narratives as well as static images * Instability, failure, and representational hunger afford individuals and societies 'the freedom to reimagine and change direction,' while art and literature are the protected spaces for such reimagining. To explain how this works, Spolsky brings together cutting-edge research in evolutionary biology, social and legal history, and literary criticism. Brilliant, witty, reader-friendly, The Contracts of Fiction is the gold standard of cognitive literary studies. This is the scholarship of the future. * Lisa Zunshine, editor of The Oxford Handbook of Cognitive Literary Studies * Why do all people everywhere of all ages in all societies over all history and throughout the entire world invest nearly inconceivable resources in imaginative fiction-dreams, daydreams, simulations, counterfactual scenarios, possibilities, reveries, poems, plays, films, cartoons, tragedies, comedies, dramas? The scientific question is open, grand, and fundamental. Ellen Spolsky's cognitive defense of fiction is a major contribution. * Mark Turner, Institute Professor and Professor of Cognitive Science, Case Western Reserve University *

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Ellen Spolsky, Professor Emerita, taught in the English Department and was the Director of the Lechter Institute for Literary Research at Bar-Ilan University in Israel. She is a literary theorist whose interests center on the cognitive/ epistemological aspects of interpretation and on the embodiment of knowing in language texts and in pictures, as these are manifest in their cultural/historical contexts.

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