How Patients Think At age twenty-one, Chloë Atkins began suffering from a mysterious illness, the symptoms of which rapidly worsened. Paralyzed for months at a time, she frequently required intubation and life support. She eventually became quadriplegic, dependent both on a wheelchair and on health professionals who refused to believe there was anything physically wrong with her. When test after test returned inconclusive results, Atkins's doctors pronounced her symptoms psychosomatic. Atkins was told not only that she was going to die but also that this was her own fault; they concluded she was so emotionally deranged that she was willing her own death. My Imaginary Illness is the compelling story of Atkins's decades-long battle with a disease deemed imaginary, her frustration with a succession of doctors and diagnoses, her immersion in the world of psychotherapy, and her excruciating physical and emotional journey back to wellness. As both a political theorist and patient, Atkins provides a narrative critique of contemporary medicine and its problematic handling of uncertainty and of symptoms that are not easily diagnosed or known. She convincingly illustrates that medicine's belief in evidence-based practice does not mean that individual doctors are capable of objectivity, nor that the presence of biomedical ethics invokes ethical practices in hospitals and clinics. A foreword by Bonnie Blair O'Connor, who teaches medical students how to listen to patients, and a clinical commentary by Dr. Brian David Hodges, a professor of psychiatry, enrich the book's narrative with practical guidance for medical practitioners and patients alike.
There are three stories that flow through this book. A beautiful young woman discovers that she has not only cancer, but one of its deadliest forms - melanoma. This discovery begins a long journey through the heretofore unknown field of medicine, oncology. From the early days of finding a physician who orders the proper treatment for the various phases of the disease to the final reckoning of the efficacy of the treatment, the story plunges into hope and despair, humor and tragedy, acceptance and understanding. The second story is the relationship between mother and daughter. From Ainsley's early adulthood, mother and daughter are estranged emotionally. When the mother attempts to be closer, Ainsley asserts her independence. With the diagnosis of melanoma, the relationship takes an abrupt turn, becoming loving and close. They journey the long, painful process of illness together. The third story involves bereavement that begins not only with the expected but mourned death of Ainsley, but with the discovery of her writing that describes her reactions to the many aspects of the disease and its treatment. This discovery results in not only the desire to tell Ainsley's story, but also to present the writing that so poignantly describes her daughter's innermost thoughts as she travels through the medical maze of unforeseen results, skilled surgery and frequent operations and procedures.
How Patients Think At age twenty-one, Chloë Atkins began suffering from a mysterious illness, the symptoms of which rapidly worsened. Paralyzed for months at a time, she frequently required intubation and life support. She eventually became quadriplegic, dependent both on a wheelchair and on health professionals who refused to believe there was anything physically wrong with her. When test after test returned inconclusive results, Atkins's doctors pronounced her symptoms psychosomatic. Atkins was told not only that she was going to die but also that this was her own fault; they concluded she was so emotionally deranged that she was willing her own death. My Imaginary Illness is the compelling story of Atkins's decades-long battle with a disease deemed imaginary, her frustration with a succession of doctors and diagnoses, her immersion in the world of psychotherapy, and her excruciating physical and emotional journey back to wellness. As both a political theorist and patient, Atkins provides a narrative critique of contemporary medicine and its problematic handling of uncertainty and of symptoms that are not easily diagnosed or known. She convincingly illustrates that medicine's belief in evidence-based practice does not mean that individual doctors are capable of objectivity, nor that the presence of biomedical ethics invokes ethical practices in hospitals and clinics. A foreword by Bonnie Blair O'Connor, who teaches medical students how to listen to patients, and a clinical commentary by Dr. Brian David Hodges, a professor of psychiatry, enrich the book's narrative with practical guidance for medical practitioners and patients alike.
White women who inhabited the West Indies in the eighteenth century fascinated metropolitan observers. In popular prints, novels, and serial publications, these women appeared to stray from "proper" British societal norms. Although many women who lived in the Caribbean island of Jamaica might have fit the model, extant writings from Ann Brodbelt, Sarah Dwarris, Margaret and Mary Cowper, Lady Maria Nugent, and Ann Appleton Storrow show a longing to remain connected with metropolitan society and their loved ones separated by the Atlantic. Sensibility and awareness of metropolitan material culture masked a lack of empathy towards subordinates and opened the white women in these islands to censure. Novels and popular publications portrayed white women in the Caribbean as prone to overconsumption, but these women seem to prize items not for their inherent value. They treasured items most when they came from beloved connections. This colonial interchange forged and preserved bonds with loved ones and comforted the women in the West Indies during their residence in these sugar plantation islands. This book seeks to complicate the stereotype of insensibility and overconsumption that characterized the perception of white women who inhabited the British West Indies in the long eighteenth century. This book will appeal to students and researchers alike who are interested in the social and cultural history of British Jamacia and the British West Indies more generally.
This book is an account of best practice in psychoanalytic parent-infant psychotherapy (PPIP) and mentalizing, bringing the two approaches in dialogue in relation to infancy. While being similar, PPIP and mentalizing emphasize different aspects of interpersonal processes and apply different ways of intervening. In this text, chapters detail how the models are put into practice, describing the different settings in which they are applied, and the research that has been undertaken to shape them. Exploring the ideas and practice of both approaches, including how they may complement each other and where differing stances may be adopted in relation to clinical material and therapy, this volume enriches the range of ways of working available to the clinician. Psychoanalytic Parent-Infant Psychotherapy and Mentalization provides an overview of the practices of PPIP and mentalization for professionals, but also for anyone interested in understanding the model of psychotherapy and the ideas behind it.
Sacred Harp music or shape-note singing is as old as America itself. The term sacred harp refers to the human voice. Brought to this continent by the settlers of Jamestown, this style of singing is also known as “fasola.” In Legacy of the Sacred Harp, author Chloe Webb follows the history of this musical form back four hundred years, and in the process uncovers the harrowing legacy of her Dumas family line. The journey begins in contemporary Texas with an overlooked but historically rich family heirloom, a tattered 1869 edition of The Sacred Harp songbook. Traveling across the South and sifting through undiscovered family history, Webb sets out on a personal quest to reconnect with her ancestors who composed, sang, and lived by the words of Sacred Harp music. Her research irreversibly transforms her rose-colored view of her heritage and brings endearing characters to life as the reality of the effects of slavery on Southern plantation life, the thriving tobacco industry, and the Civil War are revisited through the lens of the Dumas family. Most notably, Webb’s original research unearths the person of Ralph Freeman, freed slave and pastor of a pre-Civil War white Southern church. Wringing history from boxes of keepsakes, lively interviews, dusty archival libraries, and church records, Webb keeps Sacred Harp lyrics ringing in readers’ ears, allowing the poetry to illuminate the lessons and trials of the past. The choral shape-note music of the Sacred Harp whispers to us of the past, of the religious persecution that brought this music to our shores, and how the voices of contemporary Sacred Harp singers still ring out the unchanged lyrics across the South, the music pulling the past into our present.
During the early days of the professional English theatre, dramatists including Dekker, Greene, Heywood, Jonson, Marlowe, Middleton, and Shakespeare wrote for playhouses that, though enclosed by surrounding walls, remained open to the ambient air and the sky above. The drama written for performance at these open-air venues drew attention to and reflected on its own relationship to the space of the air. At a time when theories of the imagination emphasized dramatic performance's reliance upon and implication in the air from and through which its staged fictions were presented and received, plays written for performance at open-air venues frequently draw attention to the nature and significance of that elemental relationship. Aerial Environments on the Early Modern Stage considers the various ways in which the air is brought into presence within early modern drama, analyzing more than a hundred works that were performed at the London open-air playhouses between 1576 and 1609, with reference to theatrical atmospheres and aerial encounters. It explores how various theatrical effects and staging strategies foregrounded early modern drama's relationship to, and impact on, the actual playhouse air. In considering open-air drama's pervasive and ongoing attention to aerial imagery, actions, and representational strategies, the book suggest that playwrights and their companies developed a dramaturgical awareness that extended from the earth to encompass and make explicit the space of air.
In 2004 on Palm Island, an Aboriginal settlement in the "Deep North" of Australia, a thirty-six-year-old man named Cameron Doomadgee was arrested for swearing at a white police officer. Forty minutes later he was dead in the jailhouse. The police claimed he'd tripped on a step, but his liver was ruptured. The main suspect was Senior Sergeant Christopher Hurley, a charismatic cop with long experience in Aboriginal communities and decorations for his work. Chloe Hooper was asked to write about the case by the pro bono lawyer who represented Cameron Doomadgee's family. He told her it would take a couple of weeks. She spent three years following Hurley's trail to some of the wildest and most remote parts of Australia, exploring Aboriginal myths and history and the roots of brutal chaos in the Palm Island community. Her stunning account goes to the heart of a struggle for power, revenge, and justice. Told in luminous detail, Tall Man is as urgent as Bury My Heart at Wounded Knee and The Executioner's Song. It is the story of two worlds clashing -- and a haunting moral puzzle that no reader will forget.
This groundbreaking study examines the vexed and unstable relations between the eighteenth-century novel and the material world. Rather than exploring dress's transformative potential, it charts the novel's vibrant engagement with ordinary clothes in its bid to establish new ways of articulating identity and market itself as a durable genre. In a world in which print culture and textile manufacturing traded technologies, and paper was made of rags, the novel, by contrast, resisted the rhetorical and aesthetic links between dress and expression, style and sentiment. Chloe Wigston Smith shows how fiction exploited women's work with clothing - through stealing, sex work, service, stitching, and the stage - in order to revise and reshape material culture within its pages. Her book explores a diverse group of authors, including Jane Barker, Jonathan Swift, Daniel Defoe, Eliza Haywood, Samuel Richardson, Henry Fielding, Charlotte Lennox, John Cleland, Frances Burney and Mary Robinson.
An epic and unforgettable love story continues in Redeeming 6, the fourth book in the international bestselling and TikTok-phenomenon Boys of Tommen series, from Chloe Walsh. I'm saving you, six. Joey Lynch's life is falling apart. Obsessed with proving himself to the only person he's ever truly trusted, Joey fights to stay away from a world that could destroy his life. The odds are against him, but can he keep his head above water? Aoife is absolutely unwilling to give up the boy she loves, so she is determined to save him from self-destruction. She becomes trapped in a world she doesn't understand, but her heart is stronger than what's trying to drag her down. Aoife will never give up on Joey, no matter how much is stacked against them. Through heartbreak and horror, Aoife and Joey have had each other's backs, and this time is no different. Following the beloved pairing from Saving 6, Redeeming 6 will only increase your love for the Boys of Tommen universe. This book is perfect for readers looking for: New adult/YA crossover Irish romance Dual POVs Friends-to-lovers Angsty tearjerkers Bingeworthy TikTok books Readers are saying: "This book brought me back to life." "JOEY AND AOIFE FOREVER." "THIS SERIES OWNS A PART OF MY SOUL." "I read this in under 24 hrs." "Chloe Walsh writes the kind of romance novels where you can just tell the [characters] are SOULMATES, literally made for each other, two pieces of a puzzle! Joey and Aoife are everything and deserve the whole world!!!
Country pop phenomenon Taylor Swift came from a comfortable Pennsylvania home but set her sights on Nashville early. As a young teenager she won a national poetry competition, wrote her first song and a short novel. Entranced by country music, she and her family finally moved to music city in 2003. At the age of 14 Taylor Swift became the youngest staff songwriter ever hired by Sony/ATV Tree publishing. By 2006 her first single had reached number six in Billboard's Hot Country Songs chart and after that - and three huge-selling albums - there was no stopping her. This insightful book about Taylor Swift's short but extraordinary life to date includes the inside story on the high-profile romances that inspired her songs as well as exclusive, in-depth interviews with her childhood friends and early mentors.
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