The ultimate survival guide for starving artists, writers, performers — and anyone whose dreams can’t be contained by an office cubicle.Filled with down-to-earth advice and sustenance for your most far-flung dreams, The Lost Soul Companion is the perfect guide for anyone grappling with the darker side of creativity.A source of support when your day job gets you down, a refreshing reservoir of humor when you’re knee-deep in rejection slips, this remarkable little book offers both inspiration and compassion, plus surefire strategies for surviving in what can sometimes seem like “a world of meanies.”From the anti-procrastination “chopstick plan,” to the importance of staying well nourished (toaster-oven-snack recipes included), The Lost Soul Companion will speak to anyone with big dreams and creative spirit who nonetheless finds it tough some days just to get out of bed.

    Laing explains how we all exist in the world as beings, defined by others who carry a model of us in their heads, just as we carry models of them in our heads. In later writings he often takes this to deeper levels, laboriously spelling out how "A knows that B knows that A knows that B knows..."! Our feelings and motivations derive very much from this condition of "being in the world" in the sense of existing for others, who exist for us. Without this we suffer "ontological insecurity", a condition often expressed in terms of "being dead" by people who are clearly still physically alive.This watershed work aimed to make madness comprehensible, and in doing so revolutionized the way we perceive mental illness. Using case studies of patients he had worked with, psychiatrist R. D. Laing argued that psychosis is not a medical condition, but an outcome of the 'divided self', or the tension between the two personas within us: one our authentic, private identity, and the other the false, 'sane' self that we present to the world. Laing's radical approach to insanity offered a rich existential analysis of personal alienation and made him a cult figure in the 1960s, yet his work was most significant for its humane attitude, which put the patient back at the centre of treatment. R.D. Laing (1927-1989), one of the best-known psychiatrists of modern times, was born in Glasgow, Scotland.This work is available on its own or as part of the 7 volume set iSelected Works of R. D. Laing

    “I believe you change laws.”The fraught conflict between conscience and politics – between morality and power – in addressing race hardly began with Clinton. An electrifying and traumatic encounter in the sixties crystallized these furious disputes.In 1963 Attorney General Robert Kennedy sought out James Baldwin to explain the rage that threatened to engulf black America. Baldwin brought along some friends, including playwright Lorraine Hansberry, psychologist Kenneth Clark, and a valiant activist, Jerome Smith. It was Smith’s relentless, unfiltered fury that set Kennedy on his heels, reducing him to sullen silence.Kennedy walked away from the nearly three-hour meeting angry – that the black folk assembled didn’t understand politics, and that they weren’t as easy to talk to as Martin Luther King. But especially that they were more interested in witness than policy. But Kennedy’s anger quickly gave way to empathy, especially for Smith. “I guess if I were in his shoes…I might feel differently about this country.” Kennedy set about changing policy – the meeting having transformed his thinking in fundamental ways.There was more: every big argument about race that persists to this day got a hearing in that room. Smith declaring that he’d never fight for his country given its racist tendencies, and Kennedy being appalled at such lack of patriotism, tracks the disdain for black dissent in our own time. His belief that black folk were ungrateful for the Kennedys’ efforts to make things better shows up in our day as the charge that black folk wallow in the politics of ingratitude and victimhood. The contributions of black queer folk to racial progress still cause a stir. BLM has been accused of harboring a covert queer agenda. The immigrant experience, like that of Kennedy, versus the racial experience of Baldwin, is a cudgel to excoriate black folk for lacking hustle and ingenuity. The questioning of whether folk who are interracially partnered can authentically communicate black interests persists. And we grapple still with the responsibility of black intellectuals and artists to bring about social change.This book exists at the tense intersection of the conflict between politics and prophecy – of whether we embrace political resolution or moral redemption to fix our fractured racial landscape. The future of race and democracy hang in the balance.

    Along the way, the reader will find out: * What is a sign?* Which codes do we take for granted?* What is a text?* How can semiotics be used in textual analysis?* Who were Saussure, Peirce, Barthes and Jakobson - and why are they important?Features include a glossary of key terms and realistic suggestions for further reading. There is also a highly-developed and long-established online version of the book at: www.aber.ac.uk/media/Documents/S4B.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years.This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.