Little Madnesses

'Little madnesses' are our most deeply felt enthusiasms, investments and attachments in the sphere of culture. The term was coined by the child psychoanalyst Donald Winnicott, whose work on transitional phenomena grew out of his naming of the transitional object, and extended into preliminary explorations of the crucial role played by cultural experience in a life that feels satisfying. In our socially and culturally sanctioned little madnesses, everyone can find relief from the burden of having to maintain a clear boundary between inner and outer worlds, fantasy and reality, because it is in the space between them that we can find the enthusiasms and passions that excite our creative imaginations. This idea offers intriguing pathways towards understanding how we can engage effectively with the world at a public, social level without setting aside our inner lives, our emotions and our most deeply felt attachments. In Little Madnesses, writers, artists, scholars and experts in a range of fields and disciplines explore the idea of transitional phenomena and consider its potential to extend and deepen our understanding of cultural experience in mental and social life, focusing on the importance of space, place and boundaries in cultural experience; on how we can negotiate media use and cultural identity; and on the aesthetic and creative aspects of cultural experience. Topics covered include cult films, computer use, installation art, trips to the cinema, museums and galleries, the agony and ecstasy of making art and the significance of life stage in cultural experience.

It's 1983 and Max Romero, social worker, is on the brink of a nervous breakdown. The job is getting to him. It's time for a change. He quits his job only to find that he's trapped by circumstances he has no control over. The existential quality of his life leads him from one misadventure to another until he reaches the point of complete insanity. In the end, life throws him a curve that no one saw coming.

This book explores the possible relationship between mental illness and spirituality. As a mental consumer myself, I recount my experiences from the onset of my mental illness to the present time, including my hallucinations and delusions, fantasy stories, and ultimately, contacts with I believe to be the spiritual world. I bring a new perspective to this age-old study of a higher power and universal love. This book raises both old and new questions about faith and mental illness. I lay forth my experiences, and you, the reader, need to draw your own conclusions while trying to keep an open mind. This controversial book is sure to inspire animated discussion.

This is one of the wisest books I've read in years... —New York Times Book Review No writer I know of comes close to even trying to articulate the weird magic of poetry as Ruefle does. She acknowledges and celebrates in the odd mystery and mysticism of the act—the fact that poetry must both guard and reveal, hint at and pull back... Also, and maybe most crucially, Ruefle’s work is never once stuffy or overdone: she writes this stuff with a level of seriousness-as-play that’s vital and welcome, that doesn’t make writing poetry sound anything but wild, strange, life-enlargening fun. -The Kenyon Review Profound, unpredictable, charming, and outright funny...These informal talks have far more staying power and verve than most of their kind. Readers may come away dazzled, as well as amused... —Publishers Weekly This is a book not just for poets but for anyone interested in the human heart, the inner-life, the breath exhaling a completion of an idea that will make you feel changed in some way. This is a desert island book. —Matthew Dickman The accomplished poet is humorous and self-deprecating in this collection of illuminating essays on poetry, aesthetics and literature... —San Francisco Examiner Over the course of fifteen years, Mary Ruefle delivered a lecture every six months to a group of poetry graduate students. Collected here for the first time, these lectures include "Poetry and the Moon," "Someone Reading a Book Is a Sign of Order in the World," and "Lectures I Will Never Give." Intellectually virtuosic, instructive, and experiential, Madness, Rack, and Honey resists definition, demanding instead an utter—and utterly pleasurable—immersion. Finalist for the 2012 National Book Critics Circle Award. Mary Ruefle has published more than a dozen books of poetry, prose, and erasures. She lives in Vermont.

The New York Times bestselling first book in Joe Abercrombie's The Age of Madness Trilogy where the age of the machine dawns, but the age of magic refuses to die. The chimneys of industry rise over Adua and the world seethes with new opportunities. But old scores run deep as ever. On the blood-soaked borders of Angland, Leo dan Brock struggles to win fame on the battlefield, and defeat the marauding armies of Stour Nightfall. He hopes for help from the crown. But King Jezal's son, the feckless Prince Orso, is a man who specializes in disappointments. Savine dan Glokta -- socialite, investor, and daughter of the most feared man in the Union -- plans to claw her way to the top of the slag-heap of society by any means necessary. But the slums boil over with a rage that all the money in the world cannot control. The age of the machine dawns, but the age of magic refuses to die. With the help of the mad hillwoman Isern-i-Phail, Rikke struggles to control the blessing, or the curse, of the Long Eye. Glimpsing the future is one thing, but with the guiding hand of the First of the Magi still pulling the strings, changing it will be quite another . . . For more from Joe Abercrombie, check out: The First Law SeriesThe Blade ItselfBefore They Are HangedLast Argument of Kings Best Served ColdThe HeroesRed Country The Shattered Sea TrilogyHalf a KingHalf a WorldHalf a War

Rose and Michael are good students with bright futures. They are also in love. But when Rose gets pregnant, her behavior becomes increasingly strange as she pulls away from her best friend, and from Michael, while she struggles to cope with her predicament. Rose cannot admit that she is pregnant (“If I say it, it will come to be true.”). She moves from denial to ineptly trying to terminate her pregnancy, to believing that she has miscarried, while deep inside, she is on a mental and emotional downward spiral. Meanwhile, Michael, in his confusion, desperation to help and fear of the wrath of his controlling father, sinks into his own kind of small madness. Inspired by the story of two teens in the US who were arrested for hiding the girl’s pregnancy and later disposing of the baby, Touchell says, “When I saw them on TV I was amazed to see they looked like normal kids. They were from good families; they just looked destroyed... . I thought, there’s more than one victim here; what went on with these kids and why did they think they had no one to go to?” This is a moving and powerfully written novel told from the alternating viewpoints of Rose and Michael with compassion and a gentle touch. It is an honest, unflinching look at the complex world of young readers.

Intrigued by history's list of "troubled geniuses,"Albert Rothenberg investigates how two such opposite conditions—outstanding creativity and psychosis—could coexist in the same individual. Rothenberg concludes that high-level creativity transcends the usual modes of logical thought—and may even superficially resemble psychosis. But he also discovers that all types of creative thinking generally occur in a rational and conscious frame of mind, not in a mystically altered or transformed state. Far from being the source—or the price—of creativity, Rothenberg discovers, psychosis and other forms of mental illness are actually hindrances to creative work. Disturbed writers and absent-minded professors make great characters in fiction, but Rothenberg has uncovered an even better story—the virtually infinite creative potential of healthy human beings.