Through the Mueller family we take a deep look at what it means to be mentally ill in the year 1915 and in the present day.By the time she reached fifteen years old, Iona had failed to become a “proper young lady” which profoundly concerned her parents. Her one and only friend, Hetty, the family maid, warned her not to disobey them but Iona couldn’t help herself. Iona’s quirk of counting steps may have been overlooked but when her mother and father learned of her exploits in the woods near her home in Ithaca, New York, she was taken to the town doctor. The doctor took one look at her self-cut short, mangled hair, learned of her bizarre behavior, and declared her insane.At Willard Asylum on Seneca Lake there were plenty of activities to occupy her, including the job she procured working in the barn. Besides, she knew she was not anything like the crazy patients that banged their heads against the cinder walls until they bled or ran naked through the hallways. She was disobedient, that was true, and she would change. If only her parents would accept her correspondence and allow her to return home.Iona’s new roommate, Cat, made every night a fight for survival. When Iona was caught trying to run away she was sent to the second ward, where her fate was sealed. Subject to tranquilizers and hydrotherapy, ice baths and physical beatings, Iona had only one thing on her mind. She had to stay away from the back building. Once you were placed there you were never seen again.Iona met James at the institution’s barn. His kindness made the deprivation more bearable. He recognized that the violet hollows beneath her eyes, the bruises on her arms, and her apparent unraveling were the effect of the second ward. A plan was put into place, one that would remove Iona from harm’s way permanently.In present day, it is Jenna, a young relative of Iona’s, who is plagued with mental illness. Jenna’s odd behaviors, bizarre language, and confusion disrupt her once perfectly normal life. Jenna’s family members trace their roots back to Iona in hopes of understanding their predisposition to mental illness. The journey leads them to an amazing discovery of the suitcases left behind by hundreds of patients at the Willard Asylum.

    The classic play about Sir Thomas More, the Lord chancellor who refused to compromise and was executed by Henry VIII.

    My 4th book, "Let's Spend the NIght Together," was over long (imagine that!) and this scintillating chapter had to be excised. But here it is in all it's naughty, bawdy glory: the untold tales of groupies and their one night romps with rock gods.

    Combining muscular guitars and driving rhythms with an irresistible pop sensibility, their blistering live show and endlessly dynamic front woman Hayley Williams has taken them from club shows in their hometown to sell-out arena dates across the world - and earned them a fiercely dedicated fan-base along the way. But with their success has come the pressure of growing up under the media's scrutiny. Small-town kids from Tennessee thrust into international stardom, they have had to negotiate their adolescence alongside the demands of a gruelling tour schedule and numerous line-up changes. This test of character brought them to the brink of collapse. And yet, from this adversity Paramore returned with their most confident, accomplished and deeply personal album to date - Brand New Eyes. This unauthorised book is the first to tell their story and details the early years forming the band, their explosive debut record, the strident, platinum-selling follow-up Riot! and their status in late 2009 as the 'next major rock act' in the world.

    Only two characters appear on stage; Hughie, the third and most important one, is dead. It is Hughie's innocence, gullibility, and need to believe in a far more exciting existence than he ever knew which gives some kind of purpose to the shabby lives of the two who remain. O'Neill here again writes of the defeated and the courage that comes by way of illusions reflecting still other illusions in a world that needs them all.Hughie, the only surviving manuscript from a series of eight one-act monologue plays that O'Neill planned in 1940, was completed in 1941.