How Michael Pollan Expanded His Consciousness
The New Yorker
February 25, 2026
AI-Generated Deep Dive Summary
Michael Pollan’s latest book, *A World Appears*, delves into one of humanity’s most profound mysteries: consciousness. By exploring how a complex network of neurons generates self-awareness and why we are conscious at all, Pollan draws on insights from neuroscience, philosophy, literature, and psychedelics. In a discussion about the books that inspired his inquiry, he highlights works that challenge conventional scientific perspectives and offer fresh ways to understand the inner workings of the mind.
One such work is *Ducks, Newburyport* by Lucy Ellmann, a thousand-page novel told in a single sentence that immerses readers deep within the consciousness of a middle-aged woman. Pollan notes how Ellmann’s approach defies traditional scientific methods, instead using her own lived experience as the foundation for exploring human thought. This novel demonstrates how literature can provide unique insights into consciousness by capturing the intricate details of an individual’s inner world, making it impossible to separate storytelling from self-awareness.
In *The Candy House* by Jennifer Egan, Pollan is drawn to the concept of a technology that allows people to upload their consciousness into a collective repository. While this idea might sound like science fiction, Pollan connects it to the everyday practice of novelists, who already access and share characters’ inner lives through storytelling. The book raises questions about privacy, self-expression, and the blurring boundaries between personal and shared experiences in both fiction and real life.
Pollan also credits *The Blind Spot* by Adam Frank, Marcelo Gleiser, and Evan Thompson for challenging the assumption that science can achieve pure objectivity. The authors argue that all knowledge is rooted in human experience, making it impossible to fully separate consciousness from scientific inquiry. This perspective aligns with Pollan’s broader exploration
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Originally published on The New Yorker on 2/25/2026