Professor Irving Kirsch knew this as well as anyone. But, as he discovered during his research, there is a problem with what everyone knows about antidepressant drugs. It isn't true.How did antidepressant drugs gain their reputation as a magic bullet for depression? And why has it taken so long for the story to become public? Answering these questions takes us to the point where the lines between clinical research and marketing disappear altogether.Using the Freedom of Information Act, Kirsch accessed clinical trials that were withheld, by drug companies, from the public and from the doctors who prescribe antidepressants. What he found, and what he documents here, promises to bring revolutionary change to the way our society perceives, and consumes, antidepressants.The Emperor's New Drugs exposes what we have failed to see before: depression is not caused by a chemical imbalance in the brain; antidepressants are significantly more dangerous than other forms of treatment and are only marginally more effective than placebos; and, there are other ways to combat depression, treatments that don't only include the empty promise of the antidepressant prescription.This is not a book about alternative medicine and its outlandish claims. This is a book about fantasy and wishful thinking in the heart of clinical medicine, about the seductions of myth, and the final stubbornness of facts.

    Using actual unfinished, "working" notes as examples, they illustrate options for composing, reviewing, and working fieldnotes into finished texts. They discuss different organizational and descriptive strategies, including evocation of sensory detail, synthesis of complete scenes, the value of partial versus omniscient perspectives, and of first person versus third person accounts. Of particular interest is the author's discussion of notetaking as a mindset. They show how transforming direct observations into vivid descriptions results not simply from good memory but more crucially from learning to envision scenes as written. A good ethnographer, they demonstrate, must learn to remember dialogue and movement like an actor, to see colors and shapes like a painter, and to sense moods and rhythms like a poet.The authors also emphasize the ethnographer's core interest in presenting the perceptions and meanings which the people studied attach to their own actions. They demonstrate the subtle ways that writers can make the voices of people heard in the texts they produce. Finally, they analyze the "processing" of fieldnotes—the practice of coding notes to identify themes and methods for selecting and weaving together fieldnote excerpts to write a polished ethnography.This book, however, is more than a "how-to" manual. The authors examine writing fieldnotes as an interactive and interpretive process in which the researcher's own commitments and relationships with those in the field inevitably shape the character and content of those fieldnotes. They explore the conscious and unconscious writing choices that produce fieldnote accounts. And they show how the character and content of these fieldnotes inevitably influence the arguments and analyses the ethnographer can make in the final ethnographic tale.This book shows that note-taking is a craft that can be taught. Along with Tales of the Field and George Marcus and Michael Fisher's Anthropology as Cultural Criticism, Writing Ethnographic Fieldnotes is an essential tool for students and social scientists alike.

    She was a poor Southern tobacco farmer who worked the same land as her enslaved ancestors, yet her cells—taken without her knowledge—became one of the most important tools in medicine. The first “immortal” human cells grown in culture, they are still alive today, though she has been dead for more than sixty years. If you could pile all HeLa cells ever grown onto a scale, they’d weigh more than 50 million metric tons—as much as a hundred Empire State Buildings. HeLa cells were vital for developing the polio vaccine; uncovered secrets of cancer, viruses, and the atom bomb’s effects; helped lead to important advances like in vitro fertilization, cloning, and gene mapping; and have been bought and sold by the billions.Yet Henrietta Lacks remains virtually unknown, buried in an unmarked grave.Now Rebecca Skloot takes us on an extraordinary journey, from the “colored” ward of Johns Hopkins Hospital in the 1950s to stark white laboratories with freezers full of HeLa cells; from Henrietta’s small, dying hometown of Clover, Virginia — a land of wooden quarters for enslaved people, faith healings, and voodoo — to East Baltimore today, where her children and grandchildren live and struggle with the legacy of her cells.Henrietta’s family did not learn of her “immortality” until more than twenty years after her death, when scientists investigating HeLa began using her husband and children in research without informed consent. And though the cells had launched a multimillion-dollar industry that sells human biological materials, her family never saw any of the profits. As Rebecca Skloot so brilliantly shows, the story of the Lacks family — past and present — is inextricably connected to the history of experimentation on African Americans, the birth of bioethics, and the legal battles over whether we control the stuff we are made of.Over the decade it took to uncover this story, Rebecca became enmeshed in the lives of the Lacks family—especially Henrietta’s daughter Deborah, who was devastated to learn about her mother’s cells. She was consumed with questions: Had scientists cloned her mother? Did it hurt her when researchers infected her cells with viruses and shot them into space? What happened to her sister, Elsie, who died in a mental institution at the age of fifteen? And if her mother was so important to medicine, why couldn’t her children afford health insurance?Intimate in feeling, astonishing in scope, and impossible to put down, The Immortal Life of Henrietta Lacks captures the beauty and drama of scientific discovery, as well as its human consequences.

    Drawn into a netherworld of rituals and celebrations, Davis penetrated the vodoun mystique deeply enough to place zombification in its proper context within vodoun culture. In the course of his investigation, Davis came to realize that the story of vodoun is the history of Haiti—from the African origins of its people to the successful Haitian independence movement, down to the present day, where vodoun culture is, in effect, the government of Haiti’s countryside. The Serpent and the Rainbow combines anthropological investigation with a remarkable personal adventure to illuminate and finally explain a phenomenon that has long fascinated Americans.

    It is the history of who you are and how you came to be. It is unique to you, as it is to each of the 100 billion modern humans who have ever drawn breath. But it is also our collective story, because in every one of our genomes we each carry the history of our species births, deaths, disease, war, famine, migration, and a lot of sex. Since scientists first read the human genome in 2001, it has been subject to all sorts of claims, counterclaims, and myths. In fact, as Adam Rutherford explains, our genomes should be read not as instruction manuals, but as epic poems. DNA determines far less than we have been led to believe about us as individuals, but vastly more about us as a species. In this captivating journey through the expanding landscape of genetics, Adam Rutherford reveals what our genes now tell us about history, and what history tells us about our genes. From Neanderthals to murder, from redheads to race, dead kings to plague, evolution to epigenetics, this is a demystifying and illuminating new portrait of who we are and how we came to be."

    Rana Awdish never imagined that an emergency trip to the hospital would result in hemorrhaging nearly all of her blood volume and losing her unborn first child. But after her first visit, Dr. Awdish spent months fighting for her life, enduring consecutive major surgeries and experiencing multiple overlapping organ failures. At each step of the recovery process, Awdish was faced with something even more unexpected: repeated cavalier behavior from her fellow physicians—indifference following human loss, disregard for anguish and suffering, and an exacting emotional distance.Hauntingly perceptive and beautifully written, In Shock allows the reader to transform alongside Awidsh and watch what she discovers in our carefully-cultivated, yet often misguided, standard of care. Awdish comes to understand the fatal flaws in her profession and in her own past actions as a physician while achieving, through unflinching presence, a crystalline vision of a new and better possibility for us all.As Dr. Awdish finds herself up against the same self-protective partitions she was trained to construct as a medical student and physician, she artfully illuminates the dysfunction of disconnection. Shatteringly personal, and yet wholly universal, she offers a brave road map for anyone navigating illness while presenting physicians with a new paradigm and rationale for embracing the emotional bond between doctor and patient.

    Sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place." Now more than 133 million Americans live with chronic illness, accounting for nearly three-quarters of all health care dollars, and untold pain and disability.There has been an alarming rise in illnesses that defy diagnosis through clinical tests or have no known cure. Millions of people, especially women, with illnesses such as irritable bowel syndrome, chronic pain, and chronic fatigue syndrome face skepticism from physicians and the public alike. And people with diseases as varied as cardiovascular disease, HIV, certain cancers, and type 2 diabetes have been accused of causing their preventable illnesses through their lifestyle choices.We must balance our faith in medical technology with awareness of the limits of science, and confront our throwback beliefs that people who are sick have weaker character than those who are well. Through research and patient narratives, health writer Laurie Edwards explores patient rights, the role of social media in medical advocacy, the origins of our attitudes about chronic illness, and much more. What The Noonday Demon did for people suffering from depression, In the Kingdom of the Sick does for those who are chronically ill.

    He was sleek and prosperous, with a dainty goatee. Though he smiled reassuringly, the poet noticed that he kept a safe distance. In a soothing, urbane voice, the physician explained the treatment: stewed prunes to evacuate the bowels; succulent meats to ease digestion; cinnabar and the sweating tub to cleanse the disease from the skin. The doctor warned of minor side effects: uncontrolled drooling, fetid breath, bloody gums, shakes and palsies. Yet desperate diseases called for desperate remedies, of course.Were Shakespeare's shaky handwriting, his obsession with venereal disease, and his premature retirement connected? Did John Milton go blind from his propaganda work for the Puritan dictator Oliver Cromwell, as he believed, or did he have a rare and devastating complication of a very common eye problem? Did Jonathan Swift's preoccupation with sex and filth result from a neurological condition that might also explain his late-life surge in creativity? What Victorian plague wiped out the entire Brontë family? What was the cause of Nathaniel Hawthorne's sudden demise? Were Herman Melville's disabling attacks of eye and back pain the product of "nervous affections," as his family and physicians believed, or did he actually have a malady that was unknown to medical science until well after his death? Was Jack London a suicide, or was his death the product of a series of self-induced medical misadventures? Why did W. B. Yeats's doctors dose him with toxic amounts of arsenic? Did James Joyce need several horrific eye operations because of a strange autoimmune disease acquired from a Dublin streetwalker? Did writing Nineteen Eighty-Four actually kill George Orwell? The Bard meets House, M.D. in this fascinating untold story of the impact of disease on the lives and works of some the finest writers in the English language. In Shakespeare's Tremor and Orwell's Cough, John Ross cheerfully debunks old biographical myths and suggests fresh diagnoses for these writers' real-life medical mysteries. The author takes us way back, when leeches were used for bleeding and cupping was a common method of cure, to a time before vaccinations, sterilized scalpels, or real drug regimens. With a healthy dose of gross descriptions and a deep love for the literary output of these ten greats, Ross is the doctor these writers should have had in their time of need.

    Why is it, for example, that some men believe, against all reason, that vandals stole their penises, even though they're in good physical shape? In The Geography of Madness, acclaimed magazine writer Frank Bures travels around the world to trace culture-bound syndromes to their sources—and in the process, tells a remarkable story about the strange things all of us believe.Book Club Discussion Questions: For the paperback edition, a list of book club discussion questions is also being issued. If you’d like to add the The Geography of Madness to your group’s reading list, here are several conversation starters:1) One main themes of The Geography of Madness is that stories (about the world, about our lives, about our bodies) are contagious. Can you think of a story, or an experience, that changed what you believed was possible?2) Do you believe the brain and the mind are the same thing? If not, what is the difference? 3) The stories in The Geography of Madness raise the question of free will: How much do you choose the life you live? How much do you learn (or catch) you life choices from those around you? 4) Have you ever found yourself immersed in a situation where you did not know the rules? What was that like?5) In The Geography of Madness, the author argues that our mindset and our expectations have biological consequences. Does that resemble your experience? If so, how?6) Try to imagine living in a world where it was possible to have your genitals stolen, either by magic or by ghosts. How would you protect yourself?7) In The Geography of Madness, the author argues that a strong sense of self—of your story— can help to activate your endogenous (internal) healing systems and vice versa. Do you remember a time when a stressful or difficult period seemed to be followed by a health problem or sickness? 8) In The Geography of Madness, did anyone’s genital actually disappear? If not, what happened? Does it matter?9) Is there a belief that everyone around you holds, but that you don’t share? How did you come to doubt this?10) The Handbook of Depression points to a genetic marker associated with greater vulnerability to depression. Yet this link only holds true in Western cultures. Why would that be?11) Have you ever had a health problem you were afraid to talk about, or that others didn’t believe in?12) In The Geography of Madness, the author argues that cultural syndromes are “real” syndromes, but that their causes might not lie where we think they do. Do you think they are “real” or “imaginary”? 13) Over the last few years, gluten intolerance has been rising. This rise occurs at a time of increasing anxiety about the relationship between food, health and identity. What’s changed: our bodies or our culture?14) After reading The Geography of Madness, how would you describe what culture is?15) How much does a your culture create you? How much do you create your culture?16) Have you ever had a cultural syndrome?

    We like to imagine that it’s based on evidence and the results of fair tests. In reality, those tests are often profoundly flawed. We like to imagine that doctors are familiar with the research literature surrounding a drug, when in reality much of the research is hidden from them by drug companies. We like to imagine that doctors are impartially educated, when in reality much of their education is funded by industry. We like to imagine that regulators let only effective drugs onto the market, when in reality they approve hopeless drugs, with data on side effects casually withheld from doctors and patients.All these problems have been protected from public scrutiny because they’re too complex to capture in a sound bite. But Dr. Ben Goldacre shows that the true scale of this murderous disaster fully reveals itself only when the details are untangled. He believes we should all be able to understand precisely how data manipulation works and how research misconduct on a global scale affects us. In his own words, “the tricks and distortions documented in these pages are beautiful, intricate, and fascinating in their details.” With Goldacre’s characteristic flair and a forensic attention to detail, Bad Pharma reveals a shockingly broken system and calls for something to be done. This is the pharmaceutical industry as it has never been seen before.

    What were once considered normal human events and common human problems—birth, aging, menopause, alcoholism, and obesity—are now viewed as medical conditions. For better or worse, medicine increasingly permeates aspects of daily life.Building on more than three decades of research, Peter Conrad explores the changing forces behind this trend with case studies of short stature, social anxiety, "male menopause," erectile dysfunction, adult ADHD, and sexual orientation. He examines the emergence of and changes in medicalization, the consequences of the expanding medical domain, and the implications for health and society. He finds in recent developments—such as the growing number of possible diagnoses and biomedical enhancements—the future direction of medicalization.Conrad contends that the impact of medical professionals on medicalization has diminished. Instead, the pharmaceutical and biotechnical industries, insurance companies and HMOs, and the patient as consumer have become the major forces promoting medicalization. This thought-provoking study offers valuable insight into not only how medicalization got to this point but also how it may continue to evolve.

    Our stories are marbled into their marrow.Drawing upon her years of research and a wealth of remarkable experience, the world-renowned forensic anthropologist Professor Dame Sue Black takes us on a journey of revelation. From skull to feet, via the face, spine, chest, arms, hands, pelvis and legs, she shows that each part of us has a tale to tell. What we eat, where we go, everything we do leaves a trace, a message that waits patiently for months, years, sometimes centuries, until a forensic anthropologist is called upon to decipher it.Some of this information is easily understood, some holds its secrets tight and needs scientific cajoling to be released. But by carefully piecing together the evidence, the facts of a life can be rebuilt. Limb by limb, case by case – some criminal, some historical, some unaccountably bizarre – Sue Black reconstructs with intimate sensitivity and compassion the hidden stories in what we leave behind.

      It details her historic journey to American Samoa, taken where she was just twenty-three, where she did her first fieldwork.  Here, for the first time, she presented to the public the idea that the individual experience of developmental stages could be shaped by cultural demands and expectations.  Adolescence, she wrote, might be more or less stormy, and sexual development more or less problematic in different cultures.  The "civilized" world, she taught us had much to learn from the "primitive."  Now this groundbreaking, beautifully written work as been reissued for the centennial of her birth, featuring introductions by Mary Pipher and by Mead's daughter, Mary Catherine Bateson.

    But what if science itself can’t be relied on?Medicine, education, psychology, health, parenting – wherever it really matters, we look to science for advice. Science Fictions reveals the disturbing flaws that undermine our understanding of all of these fields and more.While the scientific method will always be our best and only way of knowing about the world, in reality the current system of funding and publishing science not only fails to safeguard against scientists’ inescapable biases and foibles, it actively encourages them. From widely accepted theories about ‘priming’ and ‘growth mindset’ to claims about genetics, sleep, microbiotics, as well as a host of drugs, allergies and therapies, we can trace the effects of unreliable, overhyped and even fraudulent papers in austerity economics, the anti-vaccination movement and dozens of bestselling books – and occasionally count the cost in human lives.Stuart Ritchie was among the first people to help expose these problems. In this vital investigation, he gathers together the evidence of their full and shocking extent – and how a new reform movement within science is fighting back. Often witty yet deadly serious, Science Fictions is at the vanguard of the insurgency, proposing a host of remedies to save and protect this most valuable of human endeavours from itself.

    Komen Foundation’s Race for the Cure, the largest network of 5K runs in the world. Consumers thoughtfully choose products ranging from yogurt to cars, responding to the promise that these purchases will contribute to a cure for the disease. And hundreds of companies and organizations support Breast Cancer Awareness Month, founded by a pharmaceutical company in 1985 and now recognized annually by the president of the United States. What could be wrong with that?In Pink Ribbons, Inc., Samantha King traces how breast cancer has been transformed from a stigmatized disease and individual tragedy to a market-driven industry of survivorship. In an unprecedented outpouring of philanthropy, corporations turn their formidable promotion machines on the curing of the disease while dwarfing public health prevention efforts and stifling the calls for investigation into why and how breast cancer affects such a vast number of people. Here, for the first time, King questions the effectiveness and legitimacy of privately funded efforts to stop the epidemic among American women. Pink Ribbons, Inc. grapples with issues of gender and race in breast cancer campaigns of businesses such as the National Football League; recounts the legislative history behind the breast cancer awareness postage stamp—the first stamp in American history to raise funds for use outside the U.S. Postal Service; and reveals the cultural impact of activity-based fund-raising, such as the Race for the Cure. Throughout, King probes the profound implications of consumer-oriented philanthropy on how patients experience breast cancer, the research of the biomedical community, and the political and medical institutions that the breast cancer movement seeks to change. Highly revelatory—at times shocking—Pink Ribbons, Inc. challenges the commercialization of the breast cancer movement, its place in U.S. culture, and its influence on ideas of good citizenship, responsible consumption, and generosity.Samantha King is associate professor of physical and health education and women’s studies at Queen’s University, in Kingston, Ontario.