Asylum On The Hill

Asylum on the Hill is the story of a great American experiment in psychiatry, a revolution in care for those with mental illness, as seen through the example of the Athens Lunatic Asylum. Built in southeast Ohio after the Civil War, the asylum embodied the nineteenth-century "gold standard" specifications of moral treatment. Stories of patients and their families, politicians, caregivers, and community illustrate how a village in the coalfields of the Hocking River valley responded to a national movement to provide compassionate care based on a curative landscape, exposure to the arts, outdoor exercise, useful occupation, and personal attention from a physician. Katherine Ziff's compelling presentation of America's nineteenth-century asylum movement shows how the Athens Lunatic Asylum accommodated political, economic, community, family, and individual needs and left an architectural legacy that has been uniquely renovated and repurposed. Incorporating rare photos, letters, maps, and records, Asylum on the Hill is a fascinating glimpse into psychiatric history.

Keita Ali is on the run. Like every boy on the mountainous island of Zantoroland, running is all Keita’s ever wanted to do. In one of the poorest nations in the world, running means respect. Running means riches—until Keita is targeted for his father’s outspoken political views and discovers he must run for his family’s survival. He signs on with notorious marathon agent Anton Hamm, but when Keita fails to place among the top finishers in his first race, he escapes into Freedom State—a wealthy island nation that has elected a government bent on deporting the refugees living within its borders in the community of AfricTown. Keita can stay safe only if he keeps moving and eludes Hamm and the officials who would deport him to his own country, where he would face almost certain death. This is the new underground: a place where tens of thousands of people deemed to be “illegal” live below the radar of the police and government officials. As Keita surfaces from time to time to earn cash prizes by running local road races, he has to assess whether the people he meets are friends or enemies: John Falconer, a gifted student struggling to escape the limits of his AfricTown upbringing; Ivernia Beech, a spirited old woman at risk of being forced into an assisted living facility; Rocco Calder, a recreational marathoner and the immigration minister; Lula DiStefano, self-declared queen of AfricTown and madam of the community’s infamous brothel; and Viola Hill, a reporter who is investigating the lengths to which her government will go to stop illegal immigration. Keita’s very existence in Freedom State is illegal. As he trains in secret, eluding capture, the stakes keep getting higher. Soon, he is running not only for his life, but for his sister’s life, too. Fast moving and compelling, The Illegal casts a satirical eye on people who have turned their backs on undocumented refugees struggling to survive in a nation that does not want them. Hill’s depiction of life on the borderlands of society urges us to consider the plight of the unseen and the forgotten who live among us.

To many, asylums are a relic of a bygone era. State governments took steps between 1950 and 1990 to minimize the involuntary confinement of people in psychiatric hospitals, and many mental health facilities closed down. Yet, as Anne Parsons reveals, the asylum did not die during deinstitutionalization. Instead, it returned in the modern prison industrial complex as the government shifted to a more punitive, institutional approach to social deviance. Focusing on Pennsylvania, the state that ran one of the largest mental health systems in the country, Parsons tracks how the lack of community-based services, a fear-based politics around mental illness, and the economics of institutions meant that closing mental hospitals fed a cycle of incarceration that became an epidemic. This groundbreaking book recasts the political narrative of the late twentieth century, as Parsons charts how the politics of mass incarceration shaped the deinstitutionalization of psychiatric hospitals and mental health policy making. In doing so, she offers critical insight into how the prison took the place of the asylum in crucial ways, shaping the rise of the prison industrial complex.

Patrick McGrath has created his most psychologically penetrating vision to date: a nightmare world rocked to its foundations by a passion of such force and intensity that it shatters the lives--and minds--of all who are touched by it. Stella Raphael, a woman of great beauty and formidable intelligence, is married to Max, a staid and unimaginative forensic psychiatrist. Max has taken a job in a huge top-security mental hospital in rural England, and Stella, far from London society, finds herself restless and bored. Into her lonely existence comes Edgar Stark, a brilliant sculptor confined to the hospital after killing his wife in a psychotic rage. He comes to Stella's garden to rebuild an old Victorian conservatory there, and Stella cannot ignore her overwhelming physical attraction to this desperate man. Their explosive affair pits them against Stella's husband, her child, and the entire institution. When the crisis comes to a head, Stella makes a decision--one that will destroy several lives and precipitate an appalling tragedy that could only be fueled by illicit sexual love. Asylum is a terrifying exploration of the extremes to which erotic obsession can drive us. Patrick McGrath brings his own dazzling blend of cool artistry and visceral engagement to this mesmerizing story of a fatal love and its unspeakably tragic aftermath. And in Stella Raphael, a woman who tears down the walls of her constricted existence to pursue a dangerous passion, he has created a character who will long be remembered for her willingness to take the ultimate risk, even if she must pay the ultimate price.

Between 1902 and 1934, the United States confined hundreds of adults and children from dozens of Native nations at the Canton Asylum for Insane Indians, a federal psychiatric hospital in South Dakota. But detention at the Indian Asylum, as families experienced it, was not the beginning or end of the story. For them, Canton Asylum was one of many places of imposed removal and confinement, including reservations, boarding schools, orphanages, and prison-hospitals. Despite the long reach of institutionalization for those forcibly held at the Asylum, the tenacity of relationships extended within and beyond institutional walls. In this accessible and innovative work, Susan Burch tells the story of the Indigenous people—families, communities, and nations, across generations to the present day—who have experienced the impact of this history.

Drawing from fictional and real accounts, movies, personal interviews, and tours of mental hospitals both active and defunct, Rondinone uncovers a story at once familiar and bizarre, where reality meets fantasy in the foggy landscape of celluloid and pulp.

'An eerily familiar reflection of our current moment ... It continues to haunt me' NATASHA BROWN, I PAPER BOOKS OF THE YEAR 'I will go wherever she takes me. A phenomenal book' DAISY JOHNSON 'A brilliant, scalding novel ... sharp, intricately layered, impossible to forget' MEGAN HUNTER 'Stunning ... beautifully written and deeply unsettling' BOOKSELLER, EDITOR'S CHOICE CHOSEN AS A 2021 BOOK TO LOOK OUT FOR BY OBSERVER, INDEPENDENT, FINANCIAL TIMES, EVENING STANDARD, GRAZIA, STYLIST, ELLE THE NATIONAL, FIVE BOOKS AND BURO A couple drive from London to coastal Provence. Anya is preoccupied with what she feels is a relationship on the verge; unequal, precarious. Luke, reserved, stoic, gives away nothing. As the sun sets one evening, he proposes, and they return to London engaged. But planning a wedding does little to settle Anya's unease. As a child, she escaped from Sarajevo, and the idea of security is as alien now as it was then. When social convention forces Anya to return, she begins to change. The past she sought to contain for as long as she can remember resurfaces, and the hot summer builds to a startling climax. Lean, sly and unsettling, Asylum Road is about the many borders governing our lives: between men and women, assimilation and otherness, nations, families, order and chaos. What happens, and who do we become, when they break down?

Powerful photographs of the grand exteriors and crumbling interiors of America's abandoned state mental hospitals. For more than half the nation's history, vast mental hospitals were a prominent feature of the American landscape. From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendant Thomas Story Kirkbride: a central administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings—and the patients who lived in them—neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors (some designed by such prominent architects as H. H. Richardson and Samuel Sloan) and crumbling interiors—chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks (who described his own experience working at a state mental hospital in his book Awakenings). Sacks pays tribute to Payne's photographs and to the lives once lived in these places, “where one could be both mad and safe.”