He’s a sociopath. And your boss, teacher, and colleague? They may be sociopaths too.We are accustomed to think of sociopaths as violent criminals, but in The Sociopath Next Door, Harvard psychologist Martha Stout reveals that a shocking 4 percent of ordinary people—one in twenty-five—has an often undetected mental disorder, the chief symptom of which is that that person possesses no conscience. He or she has no ability whatsoever to feel shame, guilt, or remorse. One in twenty-five everyday Americans, therefore, is secretly a sociopath. They could be your colleague, your neighbor, even family. And they can do literally anything at all and feel absolutely no guilt. How do we recognize the remorseless? One of their chief characteristics is a kind of glow or charisma that makes sociopaths more charming or interesting than the other people around them. They’re more spontaneous, more intense, more complex, or even sexier than everyone else, making them tricky to identify and leaving us easily seduced. Fundamentally, sociopaths are different because they cannot love. Sociopaths learn early on to show sham emotion, but underneath they are indifferent to others’ suffering. They live to dominate and thrill to win. The fact is, we all almost certainly know at least one or more sociopaths already. Part of the urgency in reading The Sociopath Next Door is the moment when we suddenly recognize that someone we know—someone we worked for, or were involved with, or voted for—is a sociopath. But what do we do with that knowledge? To arm us against the sociopath, Dr. Stout teaches us to question authority, suspect flattery, and beware the pity play. Above all, she writes, when a sociopath is beckoning, do not join the game. It is the ruthless versus the rest of us, and The Sociopath Next Door will show you how to recognize and defeat the devil you know.

    Criminological Theory: Context and Consequences, Fourth Edition shows the real-world relevance of theory by illuminating how ideas about crime play a prominent role in shaping crime-control policies and compelling students to apply theories to the contemporary milieu.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Published decades ago, it made women's voices heard, in their own right, with their own integrity, for virtually the 1st time in social scientific theorizing about women. Its impact was immediate & continues in the academic world & beyond. Translated into 16 languages, with over 750,000 copies sold. In a Different Voice has inspired new research, new educational initiatives & political debate--& helped many women & men to see themselves & each other in a different light. Gilligan believes that psychology has persistently & systematically misunderstood women: their motives, their moral commitments, the course of their psychological growth & their special view of what is important in life. Here she sets out to correct psychology's misperceptions & refocus its view of female personality. The result is a tour de force, which may reshape much of what psychology now has to say about female experience.AcknowledgmentsIntroductionWoman's place in man's life cycleImages of relationship Concepts of self & moralityCrisis & transition Women's rights & women's judgmentVisions of maturityReferencesIndex of Study ParticipantsGeneral Index

    Thisoften leads exasperated viewers to exclaim--is this really art?In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern, often sensational, works back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. In addition, Freeland guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Lastly, throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor.It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.

    Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as creatures which have had a great destabilizing place in Western evolutionary technology and biology. Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg--a hybrid of organism and machine--represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. Haraway's recent book, Primate Visions, has been called outstanding, original, and brilliant, by leading scholars in the field. (First published in 1991.)

    Addressed to copyeditors in book publishing and corporate communications, this thoughtful handbook explains what copyeditors do, what they look for when they edit a manuscript, and how they develop the editorial judgment needed to make sound decisions.This revised edition reflects the most recent editions of The Chicago Manual of Style (15th ed.), the Publication Manual of the American Psychological Association (5th ed.), and Merriam-Webster's Collegiate Dictionary (11th ed.).

    The Twelfth Edition's hallmark continues to be its pioneering integration of the proven-effective SQ4R learning system (Survey, Question, Read, Reflect, Review, Recite), which promotes critical thinking as it guides students step-by-step to an understanding of psychology's broad concepts and diversity of topics. Throughout every chapter, these active learning tools—together with the book's example-laced writing style, discussions of positive psychology, cutting-edge coverage of the field's new research findings, and excellent media resources—ensure that students find the study of psychology fascinating, relevant, and above all, accessible.

    CBT can help whether you're seeking to overcome anxiety and depression, boost self-esteem, lose weight, beat addiction or simply improve your outlook in your professional and personal life.

    We’ll look at how gender has been ‘done’ differently – from patriarchal societies to trans communities – and how it has been viewed differently – from biological arguments for sex difference to cultural arguments about received gender norms. We’ll dive into complex and shifting ideas about masculinity and femininity, look at non-binary, trans and fluid genders, and examine the intersection of experiences of gender with people’s race, sexuality, class, disability and more.Tackling current debates and tensions, which can divide communities and even cost lives, we’ll look to the past and the future to ask how might we approach gender differently, in more socially constructive, caring ways.

    First published in 1999, it's been lauded for its thoroughness, enthusiastic tone, and creative, nonjudgmental approach to lesbian sex in all its rich variety. (Library Journal lamented, "Why can't more heterosexual sex manuals be this good?") Now, five years later, sex educator Felice Newman has completely updated this classic guide. There is new information throughout, up-to-date research, fresh quotes from women who share their real-world experiences, a greatly expanded resource guide, new illustrations, and an entire new chapter on sex and partnership.Topics include:Where to find sex partners (and how to talk to your lovers about sex). Discovering your desires and fantasies.How to have all the orgasms you desire--G-spot orgasms, multiple orgasms, extended orgasms, and ejaculation.Why communication is the most important erotic skill you can offer your partners.How masturbation can improve your sex life.Expert how-to information on cunnilingus, anal sex, vaginal fisting, and other favorite lesbian sex techniques.How to choose vibrators, dildos, and harnesses, and get the most out of your sex toys.And much more.

    But what does the brain have to say about the way we carry our hearts? As technology advances to allow us more focused examination of the intricate dance our brains do with our environment, we can use science to shed new light on humanity’s oldest question, “What is this thing called love?”In each chapter of this lively, edgy adventure through the romantic brain, Kayt Sukel dives into the latest neuroscientific research concerning love and sex (even getting her brain scanned while having an orgasm) and what it really means for the way we approach our relationships. Dirty Minds asks age-old questions such as: What parts of the brain are involved with love? Is there really a “seven-year itch”? Why do good girls like bad boys? Is monogamy practical? How thin is that line between love and hate? Do mothers have a stronger bond with children than their fathers do? How do our childhood experiences affect our emotional control and who is at risk for love addiction? Yet this book offers an entirely fresh approach, explaining all the ways the brain can make or break us in love.

    Whether on birth certificates or college admissions applications or on bathroom doors, why do we need to mark people and places with sex categories? Do they serve a real purpose or are these places and forms just mechanisms of exclusion? Heath Fogg Davis offers an impassioned call to rethink the usefulness of dividing the world into not just Male and Female categories but even additional categories of Transgender and gender fluid. Davis, himself a transgender man, explores the underlying gender-enforcing policies and customs in American life that have led to transgender bathroom bills, college admissions controversies, and more, arguing that it is necessary for our society to take real steps to challenge the assumption that gender matters.He examines four areas where we need to re-think our sex-classification systems: sex-marked identity documents such as birth certificates, driver's licenses and passports; sex-segregated public restrooms; single-sex colleges; and sex-segregated sports. Speaking from his own experience and drawing upon major cases of sex discrimination in the news and in the courts, Davis presents a persuasive case for challenging how individuals are classified according to sex and offers concrete recommendations for alleviating sex identity discrimination and sex-based disadvantage.For anyone in search of pragmatic ways to make our world more inclusive, Davis' recommendations provide much-needed practical guidance about how to work through this complex issue. A provocative call to action, Beyond Trans pushes us to think how we can work to make America truly inclusive of all people.

    In 1996 Joseph LeDoux's "The Emotional Brain" presented a revelatory examination of the biological bases of our emotions and memories. Now, the world-renowned expert on the brain has produced with a groundbreaking work that tells a more profound story: how the little spaces between the neurons-the brain's synapses--are the channels through which we think, act, imagine, feel, and remember. Synapses encode the essence of personality, enabling each of us to function as a distinctive, integrated individual from moment to moment. Exploring the functioning of memory, the synaptic basis of mental illness and drug addiction, and the mechanism of self-awareness, "Synaptic Self" is a provocative and mind-expanding work that is destined to become a classic.

    She invites us to explore the paradoxical union of domesticity and sexual desire, and explains what it takes to bring lust home.In her 20 years of clinical experience, Perel has treated hundreds of couples whose home lives are empty of passion. They describe relationships that are open and loving, yet sexually dull. What is going on?In this explosively original book, Perel explains that our cultural penchant for equality, togetherness, and absolute candor is antithetical to erotic desire for both men and women. Sexual excitement doesn't always play by the rules of good citizenship. It is politically incorrect. It thrives on power plays, unfair advantages, and the space between self and other. More exciting, playful, even poetic sex is possible, but first we must kick egalitarian ideals and emotional housekeeping out of our bedrooms.While Mating in Captivity shows why the domestic realm can feel like a cage, Perel's take on bedroom dynamics promises to liberate, enchant, and provoke. Flinging the doors open on erotic life and domesticity, she invites us to put the "X" back in sex.©2006 Esther Perel (P)2006 HarperCollins Publishers