The Purloined Clinic

The Purloined Clinic is a retrospective of essays, reviews, and reports that reflect the range and depth of Janet Malcolm's engagement with psychology, criticism, art, and literature. She examines aspects of "that absurdist collaboration," the psychoanalytic dialogue, from which come "small, stray sell recognitions that no other human relationship yields, brought forward under conditions . . . that no other human relationship could survive." She addresses such subjects as Tom Wolfe's vendetta against modern architecture, Milan Kundera's literary experiments, and Vaclav Havel's prison letters. She explores the somewhat deflated world of post-revolutionary Prague, guides us through the labyrinthine New York art world of the eighties, and takes us behind the one-way mirror of Salvador Minuchin's school of family therapy. And to each subject she brings the incisive skepticism and dazzling epigrammatic style that are her hallmarks. “Why don’t more people write like [Malcolm]? . . . She is cast from the mold of the Eastern European intellectual: beholden to modernism. as familiar with Kundera’s exile as she is with Freud’s Vienna. This sensibility must grant her the detachment she sometimes so mercilessly employs, but it also gives her an unassailable passion for getting to the center of things.” —Boston Globe

The Purloined Self: Interpersonal Perspectives in Psychoanalysis brings together nineteen essays in updated form, still as relevant, witty and informative today as when the book originally published. Edgar Levenson is a key figure in the development of Interpersonal psychoanalysis and his ideas remain influential. This book covers his seminal writing on theoretical topics such as models of psychoanalysis, Harry Stack Sullivan’s theories, and the nature of change, as well as his more familiar focus on practical analytic topics such as transference, supervision, and the use of the self in psychoanalytic clinical work. The content ranges from more technical articles on psychoanalysis and general systems theory, the holographic dimensions of psychoanalytic change; on to issues of metapsychology; and then to articles devoted to examining the nuances of the therapeutic praxis. The general thrust of the book is in the Interpersonal tradition and is a major contribution to a contemporary elaboration of post-Sullivanian Interpersonalism, and of the two-person model of psychoanalysis that has come to permeate the entire field. With a new foreword by Donnel Stern, himself a major name in current Interpersonal analysis, this book gives a comprehensive overview of Levenson’s work, and its continued relevance in contemporary psychoanalytic thought. The Purloined Self is highly readable: the author’s witty essayist style and original perspective on its material has made it appealing across a wide range of readerships. It will appeal to psychoanalysts and psychoanalytic psychotherapists as well as undergraduate and advanced postgraduate students in these fields.

A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013

In an astonishing feat of literary detection, one of the most provocative critics of our time and the author of In the Freud Archives and The Purloined Clinic offers an elegantly reasoned meditation on the art of biography. In The Silent Woman, Janet Malcolm examines the biographies of Sylvia Plath to create a book not about Plath’s life but about her afterlife: how her estranged husband, the poet Ted Hughes, as executor of her estate, tried to serve two masters—Plath’s art and his own need for privacy; and how it fell to his sister, Olwyn Hughes, as literary agent for the estate, to protect him by limiting access to Plath’s work. Even as Malcolm brings her skepticism to bear on the claims of biography to present the truth about a life, a portrait of Sylvia Plath emerges that gives us a sense of “knowing” this tragic poet in a way we have never known her before. And she dispels forever the innocence with which most of us have approached the reading of any biography.

A New York Times Book Review Editors' Choice. A 2019 NPR Staff Pick. "Malcolm is always worth reading; it can be instructive to see how much satisfying craft she brings to even the most trivial article." --Phillip Lopate, TLS Janet Malcolm’s previous collection, Forty-One False Starts: Essays on Artists and Writers, was “unmistakably the work of a master” (The New York Times Book Review). Like Forty-One False Starts, Nobody’s Looking at You brings together previously uncompiled pieces, mainly from The New Yorker and The New York Review of Books. The title piece of this wonderfully eclectic collection is a profile of the fashion designer Eileen Fisher, whose mother often said to her, “Nobody’s looking at you.” But in every piece in this volume, Malcolm looks closely and with impunity at a broad range of subjects, from Donald Trump’s TV nemesis Rachel Maddow, to the stiletto-heel-wearing pianist Yuju Wang, to “the big-league game” of Supreme Court confirmation hearings. In an essay called “Socks,” the Pevears are seen as the “sort of asteroid [that] has hit the safe world of Russian Literature in English translation,” and in “Dreams and Anna Karenina,” the focus is Tolstoy, “one of literature’s greatest masters of manipulative techniques.” Nobody’s Looking at You concludes with “Pandora’s Click,” a brief, cautionary piece about e-mail etiquette that was written in the early two thousands, and that reverberates—albeit painfully—to this day.

In this groundbreaking book, Tanya Luhrmann -- among the most admired of young American anthropologists -- brings her acute intelligence and her sophisticated powers of observation to bear on the world of psychiatry. On the basis of extensive interviews with patients and doctors, as well as day-to-day investigative fieldwork in residency programs, private psychiatric hospitals, and state hospitals, Luhrmann shows us how psychiatrists are trained, how they develop their particular way of seeing and listening to their patients, what makes a psychiatrist successful, and how the enormous ambiguities in the field affect its practitioners and patients. How do psychiatrists learn to do what they do? What is it like for psychiatrists to deal with people who are in emotional extremity? How does the choice between drug therapy and talk therapy, each of which requires very different skills, affect the way psychiatrists understand their patients? Boldly and with sharp insight, Luhrmann takes the reader into the world of young doctors in training. At a time when mood-altering drugs have revolutionized the treatment of the mentally ill and HMOs are forcing caregivers to take the pharmacological route, Luhrmann places us at the heart of the struggle -- do we treat people's brains or their minds? -- and allows us to see exactly what is at stake.

This collection of psychoanalytic readings of literary texts and literary readings of psychoanalytic texts has been carefully designed to work as an effective teaching text for introducing students to the complexities of psychoanalytic theory in practice. The texts selected are widely studied and map the development of the field from Freud up to the most contemporary work.