Do people with multiple personalities have more than one self? The first full-length philosophical study of multiple personality disorder, First Person Plural maintains that even the deeply divided multiple personality contains an underlying psychological unity. Braude updates his work in this revised edition to discuss recent empirical and conceptual developments, including the charge that clinicians induce false memories in their patients, and the professional redefinition of "multiple personality disorder" as "dissociative identity disorder."

Conjoined twins Owen and Porter Jamison, inhabiting one body with two heads, one torso, and two very different hearts, find their tentative bond threatened when Owen discovers that he is gay, which nearly destroys Porter's marriage as a complicated romantic rectangle develops. Original.

In this innovative exploration, told-to narratives, or collaboratively produced texts by Aboriginal storytellers and (usually) non-Aboriginal writers, are not romanticized as unmediated translations of oral documents, nor are they dismissed as corruptions of original works. Rather, the approach emphasizes the interpenetration of authorship and collaboration. Focused on the 1990s, when debates over voice and representation were particularly explosive, this captivating study examines a range of told-to narratives in conjunction with key political events that have shaped the struggle for Aboriginal rights to reveal how these narratives impact larger debates about Indigenous voice and literary and political sovereignty.

Donald Moss has assembled a lively and diverse collection of contributors for this volume, examining the prevalence and the virulence of hate-based ideation, feeling, and action.

Edmund Husserl's importance for the philosophy of our century is immense, but his influence has followed a curious path. Rather than continuous it has been recurrent, ambulatory and somehow irrepressible: no sooner does it wane in one locality than it springs up in another. After playing a major role in Germany during his lifetime, Husserl had been filed away in the history-books of that country when he was discovered by the French during and after World War II. And just as the phenomenological phase of French philosophy was ending in the 1960's, Husserl became important in North America. There his work was first taken seriously by a sizable minority of dissenters from the Anglo-American establish ment, the tradition of conceptual and linguistic analysis. More recently, some philosophers within that tradition have drawn on certain of Husserl's central concepts (intentionality, the noema) in addressing problems in the philosophy of mind and the theory of meaning. This is not to say that Husserl's influence in Europe has alto gether died out. It may be that he is less frequently discussed there directly, but (as I try to argue in the introductory essay of this volume) his influence lives on in subtler forms, in certain basic attitudes, strategies and problems.

When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play – the matter and the maker—thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.

From the award-winning author of The Gardens of Kyoto comes this witty and incisive novel about the lives and attitudes of a group of women—once country-club housewives; today divorced, independent, and breaking the rules. In Our Kind, Kate Walbert masterfully conveys the dreams and reality of a group of women who came into the quick rush of adulthood, marriage, and child-bearing during the 1950s. Narrating from the heart of ten companions, Walbert subtly depicts all the anger, disappointment, vulnerability, and pride of her characters: "Years ago we were led down the primrose lane, then abandoned somewhere near the carp pond." Now alone, with their own daughters grown, they are finally free—and ready to take charge: from staging an intervention for the town deity to protesting the slaughter of the country club's fairway geese, to dialing former lovers in the dead of night. Walbert's writing is quick-witted and wry, just like her characters, but also, in its cumulative effect, moving and sad. Our Kind is a brilliant, thought-provoking novel that opens a window into the world of a generation and class of women caught in a cultural limbo.

"A collection of short stories that makes it possible to be proud to be human." Carolyn See, "Washington Post"

Illustrated with more than 100 color photographs, A Home of Her Own showcases a wide variety of homes and tells the stories of their making.

An award-winning novel of love, betrayal, and Arab Israeli identity by the author of Dancing Arabs—“one of the most important contemporary Hebrew writers” (Haaretz). A successful Arab criminal attorney and a social worker-turned-artist find their lives intersecting under the most curious of circumstances. The lawyer has a thriving practice in Jerusalem, a large house, and a Mercedes. He speaks both Arabic and Hebrew, and lives with his wife and two young children. To maintain his image as a sophisticated Israeli Arab, he makes frequent visits to a local bookstore and picks up popular novels. But on one fateful evening, he decides to buy a used copy of Tolstoy’s The Kreutzer Sonata, a book his wife once recommended. Tucked in its pages, he finds a love letter, in Arabic . . . in his wife’s handwriting. Consumed with suspicion and jealousy, he decides to hunt down the book’s previous owner—a man named Yonatan. But Yonatan’s identity is more complex than the attorney imagined. In the process of dredging up old ghosts and secrets, the lawyer breaks the fragile threads that hold all of their lives together. Winner of the 2011 Bernstein Prize, Second Person Singular is “part comedy of manners, part psychological mystery” (The Boston Globe) that offers “sharp insights on the assumptions made about race, religion, ethnicity, and class that shape Israeli identity” (Publishers Weekly). “[Kashua’s] dry wit shines.” —Los Angeles Times “Kashua’s protagonists struggle, often comically . . . making his narratives more nuanced than some of the other Arabs writing about the conflict” —Newsweek “Sayed Kashua is a brilliant, funny, humane writer who effortlessly overturns any and all preconceptions about the Middle East. God, I love him.” —Gary Shteyngart, author of Super Sad True Love Story