(Fifth edition with new drawings) -/- This edition of Wild Wise Weird has included two new drawings provided by Dr Ho Manh Tung (Vietnam Academy of Social Sciences). It is also my pleasure to inform readers that despite its fictional nature, Wild Wise Weird has, over the past 900 days, inspired several academic writers in their earnest scientific discourses. Examples concerning ecological and environmental sustainability include: “How can satirical fables offer us a vision for sustainability?” (by Dr Nguyen (...) Minh Hoang) and “A vision for fair and just transitions toward a carbon-free world by J. Mijin Cha” (both in Visions for Sustainability), “Kingfisher: contemplating the connection between nature and humans through science, art, literature, and lived experiences” (Pacific Conservation Biology), and “How an age-old photo of little chicks can awaken our conscience for biodiversity conservation and nature protection” and (Visions for Sustainability). Some other publications concerning technological innovation adoption are “Toward a pluralism of perspectives on AI”, and “Three tragedies that shape human life in the age of AI and their antidotes” (both in AI & Society). -/- Also, Kingfisher inspired a “colorful” Asian dance, as shown in ©2025 Dam Thu Ha – A dance in a Kingfisherish costume performed on January 21, 2025. -/- I sincerely hope that these minor changes bring an improved reading experience to readers as an effort to express my gratitude for their time. -/- Hanoi, March 16, 2025 Quan-Hoang Vuong. (shrink)

In their landmark 2010 paper, “The weirdest people in the world?”, Henrich, Heine, and Norenzayan outlined a serious methodological problem for the psychological and behavioural sciences. Most of the studies produced in the field use people from Western, Educated, Industrialised, Rich and Democratic (WEIRD) societies, yet inferences are often drawn to the species as a whole. In drawing such inferences, researchers implicitly assume that either there is little variation across human populations, or that WEIRD populations are generally representative (...) of the species. Yet neither of these assumptions is justified. In many psychological and behavioural domains, cultural variation begets cognitive variation, and WEIRD samples are recurrently shown to be outliers. In the years since the article was published, attention has focused on the implications this has for research on extant human populations. Here we extend those implications to the study of ancient _H. sapiens_, their hominin forebears, and cousin lineages. We assess a range of characteristic arguments and key studies in the cognitive archaeology literature, identifying issues stemming from the problem of sample diversity. We then look at how worrying the problem is, and consider some conditions under which inferences to ancient populations via cognitive models might be provisionally justified. (shrink)

One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist Rachel (...) Carson suggests that exploring nature and specifically undertaking walks along the rocky coast of Maine would keep alive a person’s inborn sense of wonder (Carson 1984). Philosopher Jesse Prinz thinks that exposure to art will encourage wonderment because artworks, as he puts it, are “inventions for feeding the appetite that wonder excites in us” (Prinz 2013). Weird fiction (a subgenre of speculative fiction) – and in particular the work of one of its greatest exponents, the early-20th-century American author How- ard Phillips Lovecraft – is likewise a catalyst for wonder. The reason behind this is that Lovecraft’s ‘wonder-stories’ are densely packed with wonder per design; and in support of this claim I shall in what is to come 1) provide a brief introduction to Lovecraft and weird fiction; 2) present a working definition of wonder; and 3) clarify what is meant by something being ‘densely packed with wonder’ via bringing to the fore evidence of Lovecraft’s literary wonder- mongery. The paper ends with some reflections on the notion of ‘dark wonder’, why this peculiar label might be suitable for the kind of wonder we find in Lovecraft’s work, and why exposure to ‘dark wonder’ can be edifying, and in that sense educational. (shrink)

Wild Wise Weird emerges as a distinctive work that merges humor, satire, and social critique into a collection of 42 fables featuring birds, especially the character Mr. Kingfisher, as guides to explore themes of wisdom, human behavior, and environmental awareness. Set in a whimsical bird village, the book offers readers a satirical reflection on society, encouraging contemplation on contemporary issues such as environmental sustainability and human-nature relationships. With wit and depth, Vuong’s storytelling demonstrates remarkable versatility, making Wild Wise (...) class='Hi'>Weird a potential classic for readers interested in literary fiction and social allegory, reminiscent of Lewis Carroll’s Alice’s Adventures in Wonderland, George Orwell’s Animal Farm, and Aziz Nesin’s Laugh or lament? (shrink)

This paper defends a novel sceptical response to the fine-tuning argument for the existence of God (FTA). According to this response, even if FTA can establish, what I call, the confirmation proposition: ‘fine-tuning confirms the God hypothesis’, there is no reason to think that a strengthening of FTA can establish the evidence-favouring proposition: ‘fine-tuning favours the God hypothesis over its competitors’. My argument is that, any criteria for the explanation of fine-tuning that permit us to take the God hypothesis seriously (...) ought to make us sceptical that fine-tuning favours the God hypothesis over its competitors. As taking the God hypothesis seriously requires us to give a fair hearing to all sorts of non-theistic explanations, including the so-called weird sorts of atheism. (shrink)

Wild Wise Weird: The Kingfisher Story Collection is an imaginative anthology that blends whimsical, wise, and strange tales. Filled with adventures, life lessons, and unique insights, it offers engaging and thought-provoking stories for readers of all ages. Perfect for fans of fantasy and the surreal, this collection captivates and inspires.

Wild Wise Weird presents a compelling collection of narratives that use anthropomorphised birds to explore significant themes relevant to contemporary global societies. Through allegorical storytelling, the chapters address critical issues such as community dynamics, resource management, health awareness, leadership challenges, and environmental stewardship. Each narrative, particularly those featuring Kingfisher, reflects the socio-economic complexities many communities face, highlighting the urgent need for effective governance and informed decision-making.

Wild Wise Weird is a unique and thought-provoking work that blends elements of satire, philosophy, and fable. Its exploration of human nature, societal structures, and the environment resonates with readers across time and culture. Several classic books can be drawn upon to understand its themes and style: 1) Animal Farm by George Orwell, 2) The Hitchhiker's Guide to the Galaxy by Douglas Adams, 3) The Tao Te Ching by Lao Tzu, 4) The Little Prince by Antoine de Saint-Exupéry, and (...) 5) The Epic of Gilgamesh. (shrink)

Wild Wise Weird by Quan-Hoang Vuong is a delightful anthology that brings to life the whimsical world of a wise, solitary Kingfisher navigating a vibrant bird village. Each story blends humor and thoughtful commentary, creating a journey filled with both charm and valuable insight.

What makes beliefs thrive? In this paper, we model the dissemination of bona fide science versus pseudoscience, making use of Dan Sperber's epidemiological model of representations. Drawing on cognitive research on the roots of irrational beliefs and the institutional arrangement of science, we explain the dissemination of beliefs in terms of their salience to human cognition and their ability to adapt to specific cultural ecologies. By contrasting the cultural development of science and pseudoscience along a number of dimensions, we gain (...) a better understanding of their underlying epistemic differences. Pseudoscience can achieve widespread acceptance by tapping into evolved cognitive mechanisms, thus sacrificing intellectual integrity for intuitive appeal. Science, by contrast, defies those deeply held intuitions precisely because it is institutionally arranged to track objective patterns in the world, and the world does not care much about our intuitions. In light of these differences, we discuss the degree of openness or resilience to conceptual change (evidence and reason), and the divergent ways in which science and pseudoscience can achieve cultural “success”. (shrink)

A fundamental question in the psychological sciences is the degree to which culture shapes core cognitive processes — perhaps none more foundational than how we perceive the world around us. A dramatic and oft-cited “case study” of culture’s power in this regard is the Müller-Lyer illusion, which depicts two lines of equal length but with arrowheads pointing either inward or outward, creating the illusion that one line is longer than the other. According to a line of research stretching back over (...) a century, depending on the society you were raised in (and how much carpentry you were exposed to), you may not see the illusion at all — an ambitious and influential research program motivating claims that seemingly basic aspects of visual processing may actually be “culturally evolved byproducts”. This Cultural Byproduct Hypothesis bears on foundational issues in the science, philosophy, and sociology of psychology, and remains popular today. Yet, here we argue that it is almost certainly false. We synthesize evidence from diverse fields which demonstrate that: (1) the illusion is not limited to humans, appearing in non-human animals from diverse ecologies; (2) the statistics of natural scenes are sufficient to capture the illusion; (3) the illusion does not require straight lines typical of carpentry (nor even any lines at all); (4) the illusion arises in sense modalities other than vision; and (5) the illusion arises even in congenitally blind subjects. Moreover, by reexamining historical data and ethnographic descriptions from the original case studies, we show that the evidence for cultural variation and its correlation with key cultural variables is in fact highly inconsistent, beset by questionable research practices, and misreported by later discussions. Together, these considerations undermine the most popular and dramatic example of cultural influence on perception. We further extend our case beyond this phenomenon, showing that many of these considerations apply to other visual illusions as well, including similarly implicated visual phenomena such as the Ebbinghaus, Ponzo, Poggendorf, and Horizontal-Vertical illusions. We conclude by outlining future approaches to cross-cultural research on perception, and we also point to other potential sources of cultural variation in visual processing. (shrink)

For centuries, fiction—particularly fables—has seamlessly combined storytelling, moral lessons, and societal reflections to engage readers on both emotional and intellectual levels. Despite extensive research on the benefits of reading and the emotional responses it evokes, a critical gap remains in understanding what drives readers to form deep emotional connections with specific works. This study seeks to identify the characteristics of a book that foster such connections. Using Bayesian Mindsponge Framework analytics, we analyzed a dataset of 129 Amazon reviews of Wild (...) Wise Weird, a collection of 42 fables that intertwine traditional storytelling with contemporary sensibilities, offering life lessons, humor, and social commentary. Of these reviews, approximately 66% expressed love for the book. The findings reveal that readers who describe the book as unique, whimsical, quirky, or innovative are more likely to express affection for it. Similarly, readers who are drawn to the book’s illustrations and characters tend to form stronger emotional connections. The cultural richness and representativeness of the book also emerged as significant factors in fostering readers’ love. The book successfully captures and conveys the depth, charm, and moral essence of Vietnamese culture to a global audience. Readers have expressed heartfelt gratitude after engaging with the book, underscoring its success in fostering meaningful emotional connections. Thus, insights from this analysis offer actionable recommendations for stakeholders in the literary ecosystem, from authors and publishers to marketers, to enhance readers’ emotional attachment and commitment to books. (shrink)

The enchanting cover of “Wild Wise Weird: The Kingfisher Story Collection” immediately drew me in, the vivid image of the kingfisher beckoning me into a world filled with rich stories. And rich they truly are. Author Quan-Hoang Vuong has masterfully crafted a collection of captivating fables, each with its own unique charm and moral lesson. -/- Like ancient tales passed down through generations, Vuong’s stories evoke a sense of wonder and connection to our collective cultural heritage. They utilize symbolism, (...) humor, and cleverly crafted animal characters to deliver timeless truths in ways that resonate deeply, no matter your age. While some might see the genre as outdated, the power of these fables lies in their ability to hold a mirror to human behavior and explore universal themes that transcend time and culture. (shrink)

Cruzeiro Seixas is one of the main representatives of Portuguese and European surrealism, despite having initially started with neo-realism. Alongside figures such as Mário Cesariny, Carlos Calvet, António Maria Lisboa, Pedro Oom or Mário Henrique Leiria, the artist created a very unique style that allows immediate recognition of his work. If it is true that this recognition depends a lot on the pictorial, stylistic, artistic presentation, it is no less true that this happens due to the permanent use of a (...) language that, on the one hand, keeps surrealism alive, and on the other hand, allows the affirmation of a narrative that does not run out of time in the discourses of history or art criticism. It is not a question of reinventing surrealism but of making it known as it is, as it happens in the reality of the human psyche. And what happens is images of weirds corpses in unreal scenarios, as it must be all the mind scenarios. Cruzeiro Seixas is an artist of human reality and this essay seeks to give an account of his work and thereby clarify how surrealism remains alive today. (shrink)

Amazon Book Review Series of “Wild Wise Weird”.

I sat by the riverbank, watching a stork family flying back to their nest after a hard working day. To my astonishment, a kingfisher landed beside me, his feathers shimmering like the pages of a timeless book.

Amazon Book Review Series of “Wild Wise Weird”.

A review of Graham Harman's book, Weird Realism: Lovecraft and Philosophy.

In this essay, we review one of our beloved fictional titles, Wild Wise Weird: The Kingfisher Story collection. The minimal sense of humor and satire in storytelling of Wild Wise Weird are sure to bring readers smiles, better yet, moments of quiet reflection, a much under-appreciated remedy in the world driven almost insane with the abundance of information co-created with AI technologies. The book provides valuable life lessons and deep insights into Vietnamese village life, moral values, and social (...) structures. The narrative not only entertains but also serves as a lively resource for cultural studies and analysis, bridging traditional storytelling with contemporary issues. This dual focus on technological introspection and cultural richness positions the work uniquely within current scholarly dialogues, making it particularly relevant to the readers who care about our quest to wisdom in the age of AI. (shrink)

Amazon Book Review Series of “Wild Wise Weird”.

Satire has long been a powerful way to encourage critical thinking, urging readers to reflect on the moral, political, and social forces that shape their world. By mixing humor with critique, satirical writing not only makes us laugh but also invites deeper reflection on human nature, social values, and how society is organized. This style of writing pushes readers to question the values and social norms we've long accepted without thought, as well as the societal structures we often take for (...) granted. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has (...) followed, has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The three most recent reviews of Wild Wise Weird received this week follow. Review contents will be used for a statisical analysis subsequently.

Amazon Book Review Series of “Wild Wise Weird”.

This study examines how global readers evaluate Wild Wise Weird: The Kingfisher Story Collection and focuses on the book’s impact on readers’ learning and thinking. Wild Wise Weird is a collection of short fables centered on a character called the Kingfisher, originally written in Vietnamese and later made available to international audiences (Wild Wise Weird | Goodreads). The book’s author explicitly aimed to introduce readers around the world to snippets of Vietnamese culture through humorous storytelling, while also (...) providing “food for thought” about human values. Given this dual focus on cultural insight and reflection, the reception of the book by readers from different cultural backgrounds provides a rich ground for research. (shrink)

Amazon Book Review Series of “Wild Wise Weird”.

This second volume is a continuation of the first volume’s 20th century conceptual foundations of quantum physics extending its view to the principles and research fields of the 21st century. A summary of the standard concepts, from modern advanced experimental tests of 'quantum ontology’ to the interpretations of quantum mechanics, the standard model of particle physics, and the mainstream quantum gravity theories. A state-of-the-art treatise that reports on the recent developments in quantum computing, classical and quantum information theory, the black (...) holes information paradox and the holographic principle to quantum cosmology, with some attention on contemporary themes such as the Bose-Einstein condensates as also to the more speculative areas of quantum biology and quantum consciousness. A final chapter on the connections between the quantum realm and philosophical idealism concludes this volume. Considering how the media (sometimes also physicists) present quantum theory, which focuses only on highly dubious ideas and speculations backed by no evidence or, worse, promote pseudo-scientific hypes that fall regularly in and out of fashion, this is a ‘vademecum’ for those who look for a serious introduction and deeper understanding of the 21st century quantum theory. All topics are explained with a concise but rigorous intermediate level style which may, at times, require some effort. However, you will finally acquire an unparalleled background in the conceptual foundations of quantum physics, enabling you to distinguish between the real science backed by experimental facts and mere speculative interpretations. (shrink)

This paper analyses the phenomenon of strange, rigid beliefs through the lens of predictive processing (PP). By “strange, rigid beliefs” I refer to abstract beliefs about the world for which, according to a rational and scientific worldview, there is no evidence available, yet which people struggle to abandon even when challenged with strong counterarguments or counterevidence. Following recent PP accounts of delusion formation, I show that one explanation for such strangely persistent beliefs can be a breakdown of the predictive machinery (...) itself. However, given how common strange, rigid beliefs are, I argue that there must be another kind of explanation too – one that does not presuppose a malfunction of the prediction engine. This will lead me to develop an alternative account that I will call “hijacking beliefs”. Using the example of supernatural beliefs, I will argue that certain abstract beliefs, when adopted under the right circumstances, are especially hard to dislodge for a predictive mind, as they are evidentially self-protective. Such beliefs may be consistent with a wide range of experiences and therefore hard to falsify, and might also bias future perception, action, and model-updating in ways that make them immune to rational revision. (shrink)

Bằng cách kết hợp sự hài hước với tính phê phán, lối viết châm biếm không chỉ tạo ra tiếng cười mà còn khơi gợi những suy nghĩ sâu sắc hơn về bản chất con người, các giá trị xã hội và cách thức quản lý xã hội.

Nghệ thuật châm biếm từ lâu được sử dụng như là một công cụ mạnh mẽ để thúc đẩy tư duy phản biện, khuyến khích người đọc suy ngẫm về các giá trị đạo đức, yếu tố chính trị và xã hội định hình thế giới của họ. Bằng cách kết hợp sự hài hước với tính phê phán, lối viết châm biếm không chỉ tạo ra tiếng cười mà còn khơi gợi những suy nghĩ sâu sắc hơn về bản (...) chất con người, các giá trị xã hội và cách thức quản lý xã hội. Cách viết này khuyến khích người đọc suy nghĩ và đặt câu hỏi về những giá trị và quy ước xã hội vốn đã được chấp nhận một cách mặc nhiên, cũng như những cấu trúc xã hội mà lâu nay chúng ta coi là đương nhiên và không cần bàn cãi. (shrink)

Amazon Book Review Series of “Wild Wise Weird”.

I sat by the riverbank, watching a stork family flying back to their nest after a hard working day. To my astonishment, a kingfisher landed beside me, his feathers shimmering like the pages of a timeless book.

With wit, wisdom, and a “weird” approach through absurdity, Wild Wise Weird fosters readers’ awareness, self-reflection, informational connectivity, and even inspires them to confront stupidity to uncover wisdom. It may even inspire some readers to take up the pen. This book has the potential to resonate with readers, especially younger ones, embedding ecological sustainability in their humanistic values through the humor, vibrancy, and absurdity of its bird characters, as well as the wisdom woven throughout.

“Wild Wise Weird” is an extraordinary collection of short stories that offers a delightful window into Vietnamese culture through the quirky and thought-provoking adventures of Kingfisher, the clever protagonist from the bird village. Vuong Quan Hoang masterfully weaves humor, satire, and social commentary into tales that are both entertaining and deeply reflective.

Reviews of “Wild Wise Weird” in the United States on October 1 & 3, 2024.

Howard Phillips Lovecraft’s work of fiction can roughly be grouped into three distinct categories, each evoking a singular extraordinary state of mind. Poe-inspired tales of the macabre such as “The Tomb” (1917) and “The Statement of Randolph Carter” (1919) produce terror because of the atmosphere they convey and because of the particular end the main characters meet. Lovecraft’s later “Yog-Sothothery” or work in the Cthulhu Mythos tradition, including his signature pieces of weird fiction “The Call of Cthulhu” (1926) and (...) “The Shadow over Innsmouth” (1931), inspires ‘horror’ because the life-worlds of the protagonists in these stories are utterly destroyed. However, the gentleman of Providence is also known for a different sort of fiction. His Dunsanian tales—among them short stories such as “The White Ship” (1919), “Celephaïs” (1920), and the three works“ The Silver Key” (1926), The Dream-Quest of Unknown Kadath (1926–27), and “Through the Gates of the Silver Key” (1932–33; with E. Hoffmann Price), centered on the exploits of Lovecraft’s recurring character and alter ego Randolph Carter—are epitomes to this feat. These prehistoric or dreamland tales do not inspire ‘terror’ or ‘horror’; rather, they predominately seek to evoke the extraordinary state of mind called ‘wonder. This article offers a preliminary exploration of Lovecraft’s relationship with wonder, highlights what wonder is, how Lovecraft was exposed to wonder at an early age, and argues that he developed a lifelong positive relationship with this particular state of mind. (shrink)

With wit, wisdom, and a “weird” approach through absurdity, Wild Wise Weird fosters readers’ awareness, self-reflection, informational connectivity, and even inspires them to confront stupidity to uncover wisdom. It may even inspire some readers to take up the pen. This book has the potential to resonate with readers, especially younger ones, embedding ecological sustainability in their humanistic values through the humor, vibrancy, and absurdity of its bird characters, as well as the wisdom woven throughout.

Ấy là nói về ông Bói Cá, nhân vật chính của tập truyện ngụ ngôn vui tươi, giàu triết lý cuộc sống, tư duy, có tiêu đề Wild Wise Weird (tạm dịch: Hoang dã, Khôn ngoan, Kỳ lạ).

Amazon Book Review Series of “Wild Wise Weird”.

Trong các mẩu chuyện ngắn trong Wild Wise Weird, rất nhiều cuộc họp của Xóm Chim đã diễn ra về những nội dung và với những tình tiết rất khác biệt. Mặc dù quý vị độc giả có thể dễ dàng hình dung ra những âm thanh chí chóe trong lúc tranh luận các “vấn đề” của Xóm Chim, nhưng mà trực tiếp nghe và ghi lại thì cũng thú vị không kém.

Amazon Book Review Series of “Wild Wise Weird”.

"Wild Wise Weird: The Kingfisher Story Collection" by Quan-Hoang Vuong is a remarkable collection of fables that views the world through the perspective of a sharp-witted, sometimes arrogant kingfisher. The stories are humorous, satirical, and thought-provoking.

Amazon Book Review Series of “Wild Wise Weird”.

This data collection comprises of Amazon reviews of the book titled “Wild Wise Weird.” These reviews will be analyzed and updated to identify factors driving people to love a fiction book. Wild Wise Weird is a collection of 42 fables that blends traditional storytelling with modern sensibilities, weaving together life lessons, humor, and social commentary.

“The Kingfisher Story Collection: Wild Wise Weird” by Vuong Quan Hoang is a captivating anthology that introduces readers to the unique and humorous life of a bird village in Vietnam. Through the adventures of Kingfisher, the wise protagonist, these short stories offer a charming blend of satire and social commentary that resonates deeply. Each story is a delightful window into Vietnamese culture, filled with laughter while addressing relevant issues like the climate crisis amidst its playful narrative.

Amazon Book Review Series of “Wild Wise Weird”.

This piece serves as a review of Wild Wise Weird by an American professor, Dr. Nancy K. Napier of Boise State University. It reprints Prof. Napier's review on Amazon.

With wit, wisdom, and a “weird” approach through absurdity, Wild Wise Weird fosters readers’ awareness, self-reflection, informational connectivity, and even inspires them to confront stupidity to uncover wisdom. It may even inspire some readers to take up the pen. This book has the potential to resonate with readers, especially younger ones, embedding ecological sustainability in their humanistic values through the humor, vibrancy, and absurdity of its bird characters, as well as the wisdom woven throughout.