The book puts forward a "multiple drafts" model of consciousness, suggesting that there is no single central place (a "Cartesian Theater") where conscious experience occurs; instead there are "various events of content-fixation occurring in various places at various times in the brain". The brain consists of a "bundle of semi-independent agencies"; when "content-fixation" takes place in one of these, its effects may propagate so that it leads to the utterance of one of the sentences that make up the story in which the central character is one''s "self". Dennett''s view of consciousness is that it is the apparently serial account for the brain''s underlying parallelism. One of the book''s more controversial claims is that qualia do not (and cannot) exist. Dennett''s main argument is that the various properties attributed to qualia by philosophers—qualia are supposed to be incorrigible, ineffable, private, directly accessible and so on&mdash;are incompatible, so the notion of qualia is incoherent. The non-existence of qualia would mean that there is no hard problem of consciousness, and "philosophical zombies", which are supposed to act like a human in every way while somehow lacking qualia, cannot exist. So, as Dennett wryly notes, he is committed to the belief that we are all zombies—adding that his remark is very much open to misinterpretation. Dennett claims that our brains hold only a few salient details about the world, and that this is the only reason we are able to function at all. Thus, we don''t store elaborate pictures in short-term memory, as this is not necessary and would consume valuable computing power. Rather, we log what has changed and assume the rest has stayed the same, with the result that we miss some details, as demonstrated in various experiments and illusions, some of which Dennett outlines. Research subsequent to Dennett''s book indicates that some of his postulations were more conservative than expected. A year after Consciousness Explained was published, Dennett noted "I wish in retrospect that I''d been more daring, since the effects are stronger than I claimed". And since then examples continue to accumulate of the illusory nature of our visual world. A key philosophical method is heterophenomenology, in which the verbal or written reports of subjects are treated as akin to a theorist''s fiction—the subject''s report is not questioned, but it is not assumed to be an incorrigible report about that subject''s inner state. This approach allows the reports of the subject to be a datum in psychological research, thus circumventing the limits of classical behaviorism. Also Dennett says that only a theory that explained conscious events in terms of unconscious events could explain consciousness at all: «To explain is to explain away».

Consciousness Explained

Burton defined his subject as follows: In attacking his stated subject, Burton drew from nearly every science of his day, including psychology and physiology, but also astronomy, meteorology, and theology, and even astrology and demonology. Much of the book consists of quotations from various ancient and mediæval medical authorities, beginning with Hippocrates, Aristotle, and Galen. Hence the Anatomy is filled with more or less pertinent references to the works of others. A competent Latinist, Burton also included a great deal of Latin poetry in the Anatomy, and many of his inclusions from ancient sources are left untranslated in the text. The Anatomy of Melancholy is an especially lengthy book, the first edition being a single quarto volume nearly 900 pages long; subsequent editions were even longer. The text is divided into three major sections plus an introduction, the whole written in Burton''s sprawling style. Characteristically, the introduction includes not only an author''s note (titled "Democritus Junior to the Reader"), but also a Latin poem ("Democritus Junior to His Book"), a warning to "The Reader Who Employs His Leisure Ill", an abstract of the following text, and another poem explaining the frontispiece. The following three sections proceed in a similarly exhaustive fashion: the first section focuses on the causes and symptoms of "common" melancholies, while the second section deals with cures for melancholy, and the third section explores more complex and esoteric melancholies, including the melancholy of lovers and all varieties of religious melancholies. The Anatomy concludes with an extensive index (which, many years later, The New York Times Book Review called "a readerly pleasure in itself"). Most modern editions include many explanatory notes, and translate most of the Latin.

The Anatomy of Melancholy

Campbell explores the theory that important myths from around the world which have survived for thousands of years all share a fundamental structure, which Campbell called the monomyth. In a well-known quote from the introduction to The Hero with a Thousand Faces, Campbell summarized the monomyth: : In laying out the monomyth, Campbell describes a number of stages or steps along this journey. The hero starts in the ordinary world, and receives a call to enter an unusual world of strange powers and events (a call to adventure). If the hero accepts the call to enter this strange world, the hero must face tasks and trials (a road of trials), and may have to face these trials alone, or may have assistance. At its most intense, the hero must survive a severe challenge, often with help earned along the journey. If the hero survives, the hero may achieve a great gift (the goal or "boon"), which often results in the discovery of important self-knowledge. The hero must then decide whether to return with this boon (the return to the ordinary world), often facing challenges on the return journey. If the hero is successful in returning, the boon or gift may be used to improve the world (the application of the boon). Very few myths contain all of these stages—some myths contain many of the stages, while others contain only a few; some myths may have as a focus only one of the stages, while other myths may deal with the stages in a somewhat different order. These stages may be organized in a number of ways, including division into three sections: Departure (sometimes called Separation), Initiation and Return. "Departure" deals with the hero venturing forth on the quest, "Initiation" deals with the hero''s various adventures along the way, and "Return" deals with the hero''s return home with knowledge and powers acquired on the journey. The classic examples of the monomyth relied upon by Campbell and other scholars include the stories of Osiris, Prometheus, the Buddha, Moses, and Christ, although Campbell cites many other classic myths from many cultures which rely upon this basic structure. While Campbell offers a discussion of the hero''s journey by using the Freudian concepts popular in the 1940s and 1950s, the monomythic structure is not tied to these concepts. Similarly, Campbell uses a mixture of Jungian archetypes, unconscious forces, and Arnold van Gennep''s structuring of rites of passage rituals to provide some illumination. However, this pattern of the hero''s journey influences artists and intellectuals worldwide, suggesting a basic usefulness for Campbell''s insights not tied to academic categories and mid-20th century forms of analysis.

The Hero with a Thousand Faces

The book chronicles the fictitious travels and pedagogy of Zarathustra. The name of this character is taken from the ancient prophet usually known in English as Zoroaster (), the Persian founder of Zoroastrianism. Nietzsche is clearly portraying a "new" or "different" Zarathustra, one who turns traditional morality on its head. He goes on to characterize "what the name of Zarathustra means in my mouth, the mouth of the first immoralist:" Zarathustra has a simple characterisation and plot, narrated sporadically throughout the text. It possesses a unique experimental style, one that is, for instance, evident in newly invented "dithyrambs" narrated or sung by Zarathustra. Likewise, the separate Dithyrambs of Dionysus was written in autumn 1888, and printed with the full volume in 1892, as the corollaries of Zarathustra''s "abundance". Some speculate that Nietzsche intended to write about final acts of creation and destruction brought about by Zarathustra. However, the book lacks a finale to match that description; its actual ending focuses more on Zarathustra recognizing that his legacy is beginning to perpetuate, and consequently choosing to leave the higher men to their own devices in carrying his legacy forth. Zarathustra also contains the famous dictum "God is dead", which had appeared earlier in The Gay Science. In his autobiographical work Ecce Homo, Nietzsche states that the book''s underlying concept is discussed within "the penultimate section of the fourth book" of ''The Gay Science'' (Ecce Homo, Kaufmann). It is the eternal recurrence of the same events. This concept first occurred to Nietzsche while he was walking in Switzerland through the woods along the lake of Silvaplana (close to Surlej); he was inspired by the sight of a gigantic, towering, pyramidal rock. Before Zarathustra, Nietzsche had mentioned the concept in the fourth book of The Gay Science (e.g., sect. 341); this was the first public proclamation of the notion by him. Apart from its salient presence in Zarathustra, it is also echoed throughout Nietzsche''s work. At any rate, it is by Zarathustra''s transfiguration that he embraces eternity, that he at last ascertains "the supreme will to power". This inspiration finds its expression with Zarathustra''s roundelay, featured twice in the book, once near the story''s close: Another singular feature of Zarathustra, first presented in the prologue, is the designation of human beings as a transition between apes and the "Übermensch" (in English, either the "overman" or "superman"; or, superhuman or overhuman. English translators Thomas Common and R. J. Hollingdale use superman, while Kaufmann uses overman, and Parkes uses overhuman. Martin has opted to leave the nearly universally understood term as Übermensch in his new translation). The Übermensch is one of the many interconnecting, interdependent themes of the story, and is represented through several different metaphors. Examples include: the lightning that is portended by the silence and raindrops of a travelling storm cloud; or the sun''s rise and culmination at its midday zenith; or a man traversing a rope stationed above an abyss, moving away from his uncultivated animality and towards the Übermensch. The symbol of the Übermensch also alludes to Nietzsche''s notions of "self-mastery", "self-cultivation", "self-direction", and "self-overcoming". Expounding these concepts, Zarathustra declares: The book embodies a number of innovative poetical and rhetorical methods of expression. It serves as a parallel and supplement to the various philosophical ideas present in Nietzsche''s body of work. He has, however, said that "among my writings my Zarathustra stands to my mind by itself" (Ecce Homo, Preface, sec. 4, Kaufmann). Emphasizing its centrality and its status as his magnum opus, Nietzsche stated that: Since many of the book''s ideas are also present in his other works, Zarathustra is seen to have served as a precursor to his later philosophical thought. With the book, Nietzsche embraced a distinct aesthetic assiduity. He later reformulated many of his ideas, in Beyond Good and Evil and various other writings that he composed thereafter. He continued to emphasize his philosophical concerns; generally, his intention was to show an alternative to repressive moral codes and to avert "nihilism" in all of its varied forms. Other aspects of Thus Spoke Zarathustra relate to Nietzsche''s proposed "Transvaluation of All Values". This incomplete project began with The Antichrist.

Thus Spoke Zarathustra

Chaplain''s Assistant Billy Pilgrim is a disoriented, fatalistic, and ill-trained American soldier. He does not like wars and is captured by the Germans during the Battle of the Bulge. The Germans put Billy and his fellow prisoners in a disused slaughterhouse (although there are animal carcasses hanging in the underground shelter) in Dresden. Their building is known as "Slaughterhouse number 5." During the bombing, the POWs and German guards alike hide in a deep cellar. Because of their safe hiding place, they are some of the few survivors of the city-destroying firestorm. Billy has become "unstuck in time" and experiences past and future events out of sequence and repetitively, following a nonlinear narrative. He is kidnapped by extraterrestrial aliens from the planet Tralfamadore. They exhibit him in a zoo with B-movie starlet Montana Wildhack as his mate. The Tralfamadorians, who can see in four dimensions, have already seen every instant of their lives. They say they cannot choose to change anything about their fates, but can choose to concentrate upon any moment in their lives, and Billy becomes convinced of the veracity of their theories. As Billy travels, or believes he travels, forward and backward in time, he relives occasions of his life, both real and fantasy. He spends time on Tralfamadore, in Dresden during the war, walking in deep snow before his German capture, in his mundane post-war married life in the United States during the 1950s and early 1960s, and in the moment of his murder by a petty thief named Paul Lazzaro. Billy''s death is the consequence of a string of events. Before the Germans capture Billy, he meets Roland Weary, a jingoist character and bully, just out of childhood like Billy, who constantly chastises him for his lack of enthusiasm for war. When captured, the Germans confiscate everything Weary has, including his boots, giving him hinged, wooden clogs to wear; Weary eventually dies of gangrene caused by the clogs. While dying in a railcar full of POWs, Weary manages to convince another soldier, Paul Lazzaro, that Billy is to blame. Lazzaro vows to avenge Weary''s death by killing Billy, because revenge is "the sweetest thing in life." Lazzaro later shoots and kills Billy with a laser gun after his speech on flying saucers and the true nature of time before a large audience in Chicago, in a balkanized United States on February 13, 1976 (the future at the time of the book''s writing).

Slaughterhouse-Five

Critique of Dialectical Reason is the product of a later stage in Sartre''s thinking, during which he no longer identified Marxism with the Soviet Union or French Communism but came closer to identifying as a Marxist. It puts forward a revision of Existentialism, and an interpretation of Marxism as a contemporary philosophy par excellence, one that can be criticized only from a reactionary pre-Marxist standpoint. Sartre argues that while the free fusion of many human projects may possibly constitute a Communist society, there is no guarantee of this. Conscious human acts are not projections of freedom that produce human ''temporality'', but movements toward ''totalization'', their sense being co-determined by existing social conditions. People are thus neither absolutely free to determine the meaning of their acts nor slaves to the circumstances in which they find themselve. Social life does not consist only of individual acts rooted in freedom, since it is also a sedimentation of history by which we are limited and a fight with nature, which imposes further obstacles and causes social relationships to be dominated by scarcity. Every satisfaction of a need can cause antagonism and make it more difficult for people to accept each other as human beings. Scarcity deprives people of the ability to make particular choices and diminishes their humanity. Communism will restore the freedom of the individual and his ability to recognize the freedom of others.

Critique of Dialectical Reason

Newspaper columnist Mitch Albom recounts time spent with his 78-year-old sociology professor, Morrie Schwartz, at Brandeis University, who was dying from Lou Gehrig''s disease (ALS). Albom, a former student of Schwartz, had not corresponded with him since attending his college classes 16 years earlier. The first three chapters incorporate an ambiguous introduction to the final conversation between Albom and Schwartz, a brief flashback to Albom''s graduation, and an account of the events Albom experienced between graduation and the reunion with his professor. Albom is a successful sports columnist for the Detroit Free Press despite his childhood dream of being a pianist. After seeing Schwartz on Nightline, Albom called Schwartz, who remembered his former pupil despite the lapse of 16 years. Albom was prompted to travel from Michigan to Massachusetts to visit Schwartz. A newspaper strike frees Albom to commute weekly, Tuesdays, to visit with Schwartz. The resulting book is based on these fourteen Tuesdays they meet, supplemented with Schwartz''s lectures and life experiences and interspersed with flashbacks and allusions to contemporary events.

Tuesdays With Morrie

In The Open Society and Its Enemies, Popper developed a critique of historicism and a defense of the open society, liberal democracy. The book is in two volumes; volume one is subtitled "The Spell of Plato", and volume two, "The High Tide of Prophecy: Hegel, Marx, and the Aftermath". The subtitle of the first volume is also its central premise &mdash; namely, that most Plato interpreters through the ages have been seduced by his greatness. In so doing, Popper argues, they have taken his political philosophy as a benign idyll, without taking into account its dangerous tendencies toward totalitarian ideology. Contrary to major Plato scholars of his day, Popper divorced Plato''s ideas from those of Socrates, claiming that the former in his later years expressed none of the humanitarian and democratic tendencies of his teacher. In particular, he accuses Plato of betraying Socrates in the Republic, wherein he portrays Socrates sympathizing with totalitarianism (see: Socratic problem). Popper extols Plato''s analysis of social change and discontent, naming him as a great sociologist, yet rejects his solutions. This is dependent on Popper''s reading of the emerging humanitarian ideals of Athenian democracy as the birth pangs of his coveted "open society." In his view, Plato''s historicist ideas are driven by a fear of the change that comes with such a liberal worldview. Popper also suggests that Plato was the victim of his own vanity——that he had designs to become the supreme Philosopher King of his vision. The last chapter of the first volume bears the same title as the book, and is Popper''s own philosophical explorations on the necessity of liberal democracy as the only form of government allowing institutional improvements without violence and bloodshed. In volume two, Popper moves on to criticise Hegel and Marx, tracing back their ideas to Aristotle, and arguing that the two were at the root of 20th century totalitarianism.

The Open Society and Its Enemies

Ivan Ilyich lives a carefree life that is "most simple and most ordinary and therefore most terrible." Like everyone he knows, he spends his life climbing the social ladder. Enduring marriage to a woman whom he often finds too demanding, he works his way up to be a magistrate, thanks to the influence he has over a friend who has just been promoted, focusing more on his work as his family life becomes less tolerable. While hanging curtains for his new home one day, he falls awkwardly and hurts his side. Though he does not think much of it at first, he begins to suffer from a pain in his side. As his discomfort grows, his behavior towards his family becomes more irritable. His wife finally insists that he visit a physician. The physician cannot pinpoint the source of his malady, but soon it becomes clear that his condition is terminal. Confronted with his diagnosis, Ivan attempts every remedy he can to obtain a cure for his worsening situation until the pain grows so intense he is forced to cease working and spend the remainder of his days in bed. Here, he is brought face to face with his mortality, and realizes that although he knows of it, he does not truly grasp it. During the long and painful process of death, Ivan dwells on the idea that he does not deserve his suffering because he has lived rightly. If he had not lived a good life, there could be a reason for his pain; but he has, so pain and death must be arbitrary and senseless. As he begins to hate his family for avoiding the subject of his death, for pretending he is only sick and not dying, he finds his only comfort in his peasant boy servant Gerasim, the only person in Ivan''s life who does not fear death, and also the only one who, apart from his own son, shows compassion for him. Ivan begins to question whether he has, in fact, lived a good life. In the final days of his life, Ivan makes a clear split between an artificial life, such as his own, which masks the true meaning of life and makes one fear death, and an authentic life, the life of Gerasim. Authentic life is marked by compassion and sympathy; the artificial life by self-interest. Then "some force" strikes Ivan in the chest and side, and he is brought into the presence of a bright light. His hand falls onto his nearby son''s head, and Ivan pities his son. He no longer hates his daughter or wife, but rather feels pity for them, and hopes his death will release them. Insodoing, his terror of death leaves him, and as Tolstoy suggests, death itself disappears.

The Death of Ivan Ilyich

The people of “modern Sanditon”, as Austen calls it, have moved out of the “old house – the house of [their] forefathers” and are busily constructing a new world in the form of a modern seaside commercial town. (The town of Sanditon is probably based on Worthing, where Austen stayed in late 1805 when the resort was first being developed, or on Eastbourne.) The town is less of an actual reality than it is an ideal of the inhabitants – one that they express in their descriptions. These inhabitants have a conception of the town’s identity and of the way in which this identity should be spread to, and appreciated by, the world: :"My name perhaps… may be unknown at this distance from the coast – but Sanditon itself – everybody has heard of Sanditon, – the favourite – for a young and rising bathing-place, certainly the favourite spot of all that are to be found along the coast of Sussex; – the most favoured by nature, and promising to be the most chosen by man.” (Sanditon) However, the founders of Sanditon must create the town within their own circle of intimate acquaintances before it may be spread to the world. Each time these townsfolk meet, their “conversation turn[s] entirely upon Sanditon, its present number of visitants and the chances of a good season”. Thus, these people are the founders and supporters of the town by means of the images that they share through conversation; they build the town by means of words with greater facility than it is built in reality. Mr. Parker, one of the founders and most eager creators of the town demonstrates this oral formation when discussing the relation between the building of streets and the arrival of lodgers: “if we have encouragement enough this year for a little crescent to be ventured on… then, we shall be able to call it Waterloo Crescent – and the name joined to the form of the building, which always takes, will give us the command of lodgers”. Later, events demonstrate that there is not likely to be such an abundance of lodgers, and that the town is therefore unlikely to grow so rapidly as Mr. Parker expresses; yet, in his mind and in his communications, the town thrives. From these conversations amongst intimates, Sanditon’s fame spreads through letters and by word of mouth. Mr. Parker’s sister sends him a letter in which she states that she has “secur[ed]… two large families… I will not tell you how many people I have employed in the business – Wheel within wheel”. This letter provides a perfect description of the epistolary and oral communication that furthers the creation of the town by means of reputation. But Austen develops a sense of the artificial foundation of the town by undermining the gossip with which she built it in the first chapters of the story: the two families turn out to be one – exaggerated in number by the multiple “intermediate friend[s]” who had relayed the information – “Mrs. Charles Dupuis lives almost next door to a lady, who has a relation lately settled at Clapham, who actually attends the seminary and gives lessons on eloquence and Belles Lettres”. Austen allows the reader to imagine the development of the town’s reputation as it spread from mouth to mouth in one direction and the way in which the number of families was augmented in the other. Thus, Sanditon is a text that demonstrates Austen''s interest in the practical results of communication — an issue with which she had experimented since she used the epistolary novel form in such early works as Lady Susan.

Sanditon

The book discusses various psychological and spiritual ideas that are rooted in many ancient Eastern Traditions, such as opening to new possibilities can help an individual to establish a connection with the Divine. The main character of the novel undertakes a journey to find and understand a series of nine spiritual insights on an ancient manuscript in Peru. The book is a first-person narrative of spiritual awakening. The narrator is in a transitional period of his life, and begins to notice instances of synchronicity, which is the belief that coincidences have a meaning personal to those who experience them. The story opens with the male narrator becoming reacquainted with an old female friend, who tells him about the Insights, which are contained in a manuscript dating to 600 BC, which has been only recently translated. After this encounter leaves him curious, he decides to go to Peru. On the airplane, he meets a historian who also happens to be interested in the manuscript. As well, he learns that powerful figures within the Peruvian government and the Catholic Church are opposed to the dissemination of the Insights. This is dramatically illustrated when police try to arrest and then shoot the historian soon after his arrival. The narrator then learns the Insights, one by one, often experiencing the Insight before actually reading the text, while being pursued by forces of the Church and the Peruvian government. In the end, he succeeds in learning the first nine Insights and returns to the United States, with a promise of a Tenth Insight soon to be revealed. The Insights are given only through summaries and illustrated by events in the plot. The text of no complete Insight is given, which the narrator claims is for brevity''s sake; he notes that the ''partial translation'' of the Ninth Insight was 20 typewritten pages in length. In the novel, the Maya civilization left ruins in Peru where the manuscript was found, whereupon the Incas took up residence in the abandoned Maya cities after the Maya had reached an "energy vibration level" which made them cross a barrier into a completely spiritual reality.

The Celestine Prophecy

The book starts with an elderly man named Eddie who works as the head of maintenance at an amusement park called Ruby Pier. Eddie is able to perform this job despite leg injuries he received as a soldier during World War II. On Eddie''s birthday, one of the amusement park rides malfunctions because of a damaged cable and stops halfway through the ride. Two of the staff at Ruby Pier are able to rescue the passengers on the ride and then release the ride''s cart not knowing that there is a little girl under it. Eddie attempts to save the girl who was sitting under a roller coaster ride that one of the carts was about to fall on. Eddie then finds himself awake and uninjured and realizes that he feels young and much more energetic. He meets a man dubbed as "The Blue Man" who had worked at Ruby Pier''s freak show and whose real name is Joseph Corvelzchik. Through their conversation, Eddie finds out that he is dead, has gone to heaven and has to meet five people who significantly impacted his life. He also finds out that he feels so much younger because he will feel the way he felt when these people came into his life. Eddie asks why Joseph, whom he does not know, is his first person and Joseph informs Eddie that he died when Eddie ran across the street as a child and caused Joseph to wreck his own car. From this, Eddie learns his first lesson which is that there are no random events in life and all people are connected in some way. The second person that Eddie meets is his former captain from the army who Eddie finds sitting in a tree in a Philippine rainforest. The captain reminds Eddie of their time together as prisoners of war in a forced labor camp. Their group escaped after a lengthy period of time and burned the camp. Eddie remembers that he had seen a shadow running from the hut that he was setting on fire although he had never found out who the person was. The captain confesses that he was the one who shot Eddie in the leg to prevent Eddie from chasing the shadow in the fire. This saved Eddie''s life while leaving him with the lifelong injury. The captain later died by a landmine while scouting ahead during the escape, saving the lives of the group. Eddie learns his second lesson about the importance of people''s willingness to make sacrifices for others. The scene changes and Eddie finds himself outside a diner where he meets a well dressed woman named Ruby. Ruby tells Eddie that she had once worked as a waitress at the diner and explains that Ruby Pier was named after her by her husband Emile who built it in tribute to her. Emile was wounded while fighting a fire that burned much of Ruby Pier and later died from failing health. Ruby confesses that she picked the diner because that was where she had met Emile and wanted the diner to be a refuge for anyone who had ever been hurt in any way by Ruby Pier. Eddie''s father, who had been a very harsh and abusive man, is also at the diner. Ruby teaches Eddie to release his anger and forgive his father for all the trouble and hurt he had caused. Eddie now awakens in a room with several doors. Behind each of the doors there is wedding from a different culture and Eddie meets his late wife, Marguerite, in one of the weddings. They spend an extended period together, moving from one wedding to the next and catching up on all the things they had not been able to share since Marguerite''s death. They remember their own wedding and in the end, Marguerite teaches Eddie that love is never lost in death. When Eddie awakens to a new scene, he sees children playing along a riverbed and a young Asian girl named Tala comes up to him. Tala reveals that she was the little girl from the hut that Eddie set on fire. The girl shows Eddie the burns that she suffered from the fire. She hands Eddie a stone and tells him to rub the burns off. Eddie starts to scrape off the injuries he had inflicted on her and soon Tala is free of the scars. Eddie believes that he failed to save the little girl from the amusement park and remembers feeling the girl''s hands in his just before his death but Tala says that it was her hands that Eddie had felt as she pulled him safely up to heaven. In reality, Eddie did manage to save the girl at Ruby Pier. Tala teaches Eddie that his life was not for nothing and that its purpose was to protect children at Ruby Pier through his care for the safety of the rides. In this way, he also atoned for causing Tala''s death. In the end, it shows that Eddie''s heaven was the Stardust Band Shell, where he met Marguerite. He is also one of the five people to be met by the girl whose life he saved when she dies.

Philosophy

Consciousness Explained

By Daniel Dennett

The Anatomy of Melancholy

By Robert Burton

The Hero with a Thousand Faces

By Joseph Campbell

Thus Spoke Zarathustra

By Friedrich Nietzsche

Slaughterhouse-Five

By Kurt Vonnegut

Critique of Dialectical Reason

By Jean-Paul Sartre

Tuesdays With Morrie

By Mitch Albom

The Open Society and Its Enemies

By Karl Popper

The Death of Ivan Ilyich

By Leo Tolstoy

Sanditon

By Jane Austen

The Celestine Prophecy

By James Redfield

The Five People You Meet in Heaven

By Mitch Albom