After The Madness

Driving down the Long Island Expressway in November of 1992, Sol Wachtler was New York’s chief judge and heir apparent to the New York governorship. Suddenly, three van loads of FBI agents swerved in front of him—bringing his car and his legal career to a halt. Wachtler's subsequent arrest, conviction, and incarceration for harassing his longtime lover precipitated a media feeding frenzy, revealing to the world his struggles with romantic attachment, manic depression, and drug abuse. In this, his prison diary, Wachtler reveals the stark reality behind his vertiginous fall from the heights of the legal establishment to the underbelly of the criminal justice system. Sentenced to a medium security prison in Butner, North Carolina, Wachtler is stabbed by an unseen assailant, berated by prison guards, and repeatedly placed in solitary confinement with no explanation. Moreover, as a prisoner he confronts firsthand the inequities of a system his judicial rulings helped to construct and befriends the type of people he once sentenced. With unflinching honesty, Wachtler draws on his unique experience of living life on both sides of the bench to paint a chilling portrait of prison life interwoven with a no‐holds‐barred analysis of the shortcomings of the American legal justice system.

The renowned author explores the modern world of international crime in this “stunningly original . . . utterly mesmerizing” sequel to Layer Cake (Booklist). J.J. Connolly made crime fiction history with his acclaimed debut novel Layer Cake, which he adapted into a cult classic film starring Daniel Craig and Sienna Miller. Now Connolly continues the story of his anonymous hero in a novel that once again combines razor-sharp dialogue and quick-fire violence with a deep knowledge of criminal pathos. From the London underworld, Viva la Madness moves to international crime with trans-Atlantic drug deals, money laundering, and high-tech electronic fraud. In a dazzling combination of London low-life, Caribbean high-life, and Venezuelan drug cartels toting machine-guns in Mayfair, our hero's voice and mission are authentic, thrilling, and whiplash-inducing in equal shares.

The New York Times bestseller! A new threat haunts the streets of London… Rory Deveaux has changed in ways she never could have imagined since moving to London and beginning a new life at boarding school. As if her newfound ability to see ghosts hadn’t complicated her life enough, Rory’s recent brush with the Jack the Ripper copycat has left her with an even more unusual and intense power. Now, a new string of inexplicable deaths is threatening London, and Rory has evidence that they are no coincidence. Something sinister is going on, and it is up to her to convince the city’s secret ghost-policing squad to listen before it’s too late.

Instant #1 New York Times Bestseller AARP The Magazine – Recommended Summer Reading CNN – A Most Anticipated Book of August Bustle – A Most Anticipated Book of August Chief Inspector Armand Gamache returns to Three Pines in #1 New York Times bestseller Louise Penny's latest spellbinding novel You’re a coward. Time and again, as the New Year approaches, that charge is leveled against Armand Gamache. It starts innocently enough. While the residents of the Québec village of Three Pines take advantage of the deep snow to ski and toboggan, to drink hot chocolate in the bistro and share meals together, the Chief Inspector finds his holiday with his family interrupted by a simple request. He’s asked to provide security for what promises to be a non-event. A visiting Professor of Statistics will be giving a lecture at the nearby university. While he is perplexed as to why the head of homicide for the Sûreté du Québec would be assigned this task, it sounds easy enough. That is until Gamache starts looking into Professor Abigail Robinson and discovers an agenda so repulsive he begs the university to cancel the lecture. They refuse, citing academic freedom, and accuse Gamache of censorship and intellectual cowardice. Before long, Professor Robinson’s views start seeping into conversations. Spreading and infecting. So that truth and fact, reality and delusion are so confused it’s near impossible to tell them apart. Discussions become debates, debates become arguments, which turn into fights. As sides are declared, a madness takes hold. Abigail Robinson promises that, if they follow her, ça va bien aller. All will be well. But not, Gamache and his team know, for everyone. When a murder is committed it falls to Armand Gamache, his second-in-command Jean-Guy Beauvoir, and their team to investigate the crime as well as this extraordinary popular delusion. And the madness of crowds.

What madness meant was a fiercely contested question in Soviet society. State of Madness examines the politically fraught collision between psychiatric and literary discourses in the years after Joseph Stalin's death. State psychiatrists deployed set narratives of mental illness to pathologize dissenting politics and art. Dissidents such as Aleksandr Vol'pin, Vladimir Bukovskii, and Semen Gluzman responded by highlighting a pernicious overlap between those narratives and their life stories. The state, they suggested in their own psychiatrically themed texts, had crafted an idealized view of reality that itself resembled a pathological work of art. In their unsanctioned poetry and prose, the writers Joseph Brodsky, Andrei Siniavskii, and Venedikt Erofeev similarly engaged with psychiatric discourse to probe where creativity ended and insanity began. Together, these dissenters cast themselves as psychiatrists to a sick society. By challenging psychiatry's right to declare them or what they wrote insane, dissenters exposed as a self-serving fiction the state's renewed claims to rationality and modernity in the post-Stalin years. They were, as they observed, like the child who breaks the spell of collective delusion in Hans Christian Andersen's story "The Emperor's New Clothes." In a society where normality means insisting that the naked monarch is clothed, it is the truth-teller who is pathologized. Situating literature's encounter with psychiatry at the center of a wider struggle over authority and power, this bold interdisciplinary study will appeal to literary specialists; historians of culture, science, and medicine; and scholars and students of the Soviet Union and its legacy for Russia today.

This book shows how an understanding of the nature and role of insanity in Hegel's writing provides intriguing new points of access to many of the central themes of his larger philosophic project. Berthold-Bond situates Hegel's theory of madness within the history of psychiatric practice during the great reform period at the turn of the eighteenth century, and shows how Hegel developed a middle path between the stridently opposed camps of "empirical" and "romantic" medicine, and of "somatic" and "psychical" practitioners. A key point of the book is to show that Hegel does not conceive of madness and health as strictly opposing states, but as kindred phenomena sharing many of the same underlying mental structures and strategies, so that the ontologies of insanity and rationality involve a mutually illuminating, mirroring relation. Hegel's theory is tested against the critiques of the institution of psychiatry and the very concept of madness by such influential twentieth-century authors as Michel Foucault and Thomas Szasz, and defended as offering a genuinely reconciling position in the contemporary debate between the "social labeling" and "medical" models of mental illness.

In Black Madness :: Mad Blackness Therí Alyce Pickens rethinks the relationship between Blackness and disability, unsettling the common theorization that they are mutually constitutive. Pickens shows how Black speculative and science fiction authors such as Octavia Butler, Nalo Hopkinson, and Tananarive Due craft new worlds that reimagine the intersection of Blackness and madness. These creative writer-theorists formulate new parameters for thinking through Blackness and madness. Pickens considers Butler's Fledgling as an archive of Black madness that demonstrates how race and ability shape subjectivity while constructing the building blocks for antiracist and anti-ableist futures. She examines how Hopkinson's Midnight Robber theorizes mad Blackness and how Due's African Immortals series contests dominant definitions of the human. The theorizations of race and disability that emerge from these works, Pickens demonstrates, challenge the paradigms of subjectivity that white supremacy and ableism enforce, thereby pointing to the potential for new forms of radical politics.

More information to be announced soon on this forthcoming title from Penguin USA