A follow-up to Self-Made Man traces the author's commitment to a mental institution, where she embraced health and made observations about the effect of institutionalization and medication on the depressed and insane. 100,000 first printing.
A Los Angeles Times columnist recounts her eighteen-month undercover stint as a man, a time during which she underwent considerable personal risks as she worked a sales job, joined a bowling league, frequented sex clubs, dated, and encountered firsthand the rigid codes and rituals of masculinity. 80,000 first printing.
Norah Vincent’s first two books—the New York Times bestseller Self-Made Man and Voluntary Madness—were masterworks of immersion journalism. Now Vincent unleashes her considerable talents in a spellbinding novel that’s as provocative and absorbing as her acclaimed nonfiction. Since his parents’ violent deaths thirteen years ago, Nick Walsh has been living alone in his childhood home, drinking, drugging, and debauching himself into oblivion. Deranged by his relentless sorrow, he begins spying on his neighbors via hidden cameras and microphones. As he observes all the strange, sad, and terrifying things that people do when they think no one is watching, Nick begins to unravel the shocking truth about how and why his parents died.
Punch and Juliette make a pack to live a wild life in Key West for a year, creating scenes to use in his novel, with the climax a suicide during Fantasy Fest. But the money runs out early, and their escapades take a serious turn. Bohemian atmosphere, Romeo and Juliet on a motorcycle, the meaning of love explored at Coral Castle--in high gear.
This multi-disciplinary book lies in the general areas of forensic psychiatry/psychology, sociology, jurisprudence, criminal law and criminology. It questions traditional assumptions about illness and mental disorder, and deals with the controversial notion that mental disorders (and possibly other 'illnesses') may be to varying extents the fault of the 'sufferer'. It examines how the law can take into account such 'culpable' notions of mental disorder in determining criminal responsibility. This culpability for the defense-causing condition (or 'responsibility for level of criminal responsibility') is called 'meta-responsibility'. The book is divided into two parts. The first section discusses theoretical issues, such as the manner in which traditional illness models relate to meta-responsibility; the insanity defence and other mental condition defences; the relationship of clinical issues such as medication non-compliance and insight to meta-responsibility and the counterfactual notion that consideration of the possible voluntary origins of mental disorder may benefit the criminal and non-criminal mentally disordered. The second section of the book presents a case vignette experiment of mock jurors, examining the effect of a 'meta-responsibility insanity test'.
“A blistering and truly original work of reporting and analysis, uncovering America’s role in homogenizing how the world defines wellness and healing” (Po Bronson). In Crazy Like Us, Ethan Watters reveals that the most devastating consequence of the spread of American culture has not been our golden arches or our bomb craters but our bulldozing of the human psyche itself: We are in the process of homogenizing the way the world goes mad. It is well known that American culture is a dominant force at home and abroad; our exportation of everything from movies to junk food is a well-documented phenomenon. But is it possible America's most troubling impact on the globalizing world has yet to be accounted for? American-style depression, post-traumatic stress disorder, and anorexia have begun to spread around the world like contagions, and the virus is us. Traveling from Hong Kong to Sri Lanka to Zanzibar to Japan, acclaimed journalist Ethan Watters witnesses firsthand how Western healers often steamroll indigenous expressions of mental health and madness and replace them with our own. In teaching the rest of the world to think like us, we have been homogenizing the way the world goes mad.
"The vast literature on Virginia Woolf's life, work, and marriage falls into two groups. A large majority is certain that she was mentally ill, and a small minority is equally certain that she was not mentally ill but was misdiagnosed by psychiatrists. In this daring exploration of Woolf's life and work, Thomas Szasz--famed for his radical critique of psychiatric concepts, coercions, and excuses--examines the evidence and rejects both views. Instead, he looks at how Virginia Woolf, as well as her husband Leonard, used the concept of madness and the profession of psychiatry to manage and manipulate their own and each other's lives.Do we explain achievement when we attribute it to the fictitious entity we call ""genius""? Do we explain failure when we attribute it to the fictitious entity we call ""madness""? Or do we deceive ourselves the same way that the person deceives himself when he attributes the easy ignition of hydrogen to its being ""flammable""? Szasz interprets Virginia Woolf's life and work as expressions of her character, and her character as the ""product"" of her free will. He offers this view as a corrective against the prevailing, ostensibly scientific view that attributes both her ""madness"" and her ""genius"" to biological-genetic causes. We tend to attribute exceptional achievement to genius, and exceptional failure to madness. Both, says Szasz, are fictitious entities."
A “skillfully rendered and emotionally insightful” reimagining of the Bloomsbury group and Virginia Woolf’s last years (Publishers Weekly). In 1925, she began writing To the Lighthouse, an epic piece of prose that instantly became a beloved classic. In 1941, she walked into the River Ouse, never to be heard from again. What happened in between those two moments is a story to be told, one of insight and camaraderie, loneliness and loss—the story of a woman, named Adeline at birth, heading toward an inexorable demise. With poetic precision and psychological acuity, Norah Vincent paints an intimate portrait of what might have happened in those last years of Virginia Woolf’s life. From her friendships with the so-called Bloomsbury Group, which included the likes of T. S. Eliot, to her struggles with her husband, Leonard, Vincent explores the intimate conversations, tormented confessions, and internal struggles Woolf may have faced. Praised by USA Today as “daring” and by the New Statesman as “electrifyingly good,” Adeline takes a keen look at one of the most beloved, mourned, and mysterious literary giants of all time. “Vincent is a sensitive recorder of a mind’s movements as it shifts in and out of inspiration, and as it fights before submitting to despair.” —The New York Times Book Review “Skillfully rendered and emotionally insightful.” —Publishers Weekly
A single night can change everything. Now I’m pregnant with a biker’s baby. I try to give Slash an out, but he claims me. He wants more. He wants us. He wants to protect me and our baby. Slash is rugged and virile, and I’m falling for him hard and fast. I know he’s not white-picket-fence material, but he makes me feel safe and adored. I never thought I’d be with a man like him. But he’s so wrong he might be my right.