Is it really universally the case that ''people seem to have long languorous conversations describing to each other the flower they most love that morning?'' And is this observation a useful basis for a universal theory of the mind? In the long sections of the book devoted to the habits of a certain sparrow in Scarry's garden, or to charting every reference to vegetation in the works of Homer, Flaubert and Wordsworth, Scarry appears lost in her own lush imaginative world. Unfortunately, Scarry takes for granted that her reader is as obsessive a gardener as she. She writes like someone enraptured by both the natural world-especially flowers-and by language. Scarry is an original, interdisciplinary thinker. Given that imagination is, by definition, less vivid than actual perception, she asks, why should a poem by Wordsworth, say, or a novel by Charlotte Bront, bring the material world to life so palpably? Although Scarry bases her argument largely on close literary readings, her approach often recalls that of such Enlightenment philosophers as Descartes and Hume as she attempts to solve the riddle of how the mind works.

Best known for her 1985 study of torture and physical pain, The Body in Pain, and for her much-publicized contention, first expressed in the New York Review of Books, that electromagnetic interference caused the crash of TWA Flight 800, Harvard English professor Scarry turns her critical lights on the question of how we transform literature into compelling mental imagery.

Elaine scarry on beauty