Siachen. The world s highest battlefield. An obscure, unwinable war fought in the mountains far beyond the reach of ordinary men. A parable of India and Pakistan. At the end of 2003, foreign correspondent Myra MacDonald set out to uncover the secrets of this war, on a journey which began in the monkey-infested military headquarters in Delhi, led through the villages of superstitious Indian foot soldiers to the villas of retired generals in Islamabad, and to the war zone itself on both the Indian and Pakistani sides. Heights of Madness is the first account of the Siachen war to be told from both the Indian and the Pakistani points of view. But it is also about the journey itself, of a lone foreign woman travelling through India and Pakistan, meeting larger-than-life characters the Buddhist hillman, the Sikh hero, the Pathan commander, the Hindu jawan and stumbling into improbable settings, fighting off altitude sickness in a yak tent, huddling around a bukhari stove in a makeshift officers mess, suffering from sunburn on the world s highest road. And perhaps most of all, it is about the mountains. For the Siachen war is fought over a land so beautiful that you come to believe, as do many of the soldiers who serve there, that this is indeed the home of the gods.

"Originally serialized in the February, March, and April 1936 issues of Astounding stories"--Copyright page.

The New York Times bestseller “A glistening psychological history, faceted largely by the biographies of eight famous leaders . . .” —The Boston Globe “A provocative thesis . . . Ghaemi’s book deserves high marks for original thinking.” —The Washington Post “Provocative, fascinating.” —Salon.com Historians have long puzzled over the apparent mental instability of great and terrible leaders alike: Napoleon, Lincoln, Churchill, Hitler, and others. In A First-Rate Madness, Nassir Ghaemi, director of the Mood Disorders Program at Tufts Medical Center, offers a myth-shattering exploration of the powerful connections between mental illness and leadership and sets forth a controversial, compelling thesis: The very qualities that mark those with mood disorders also make for the best leaders in times of crisis. From the importance of Lincoln's "depressive realism" to the lackluster leadership of exceedingly sane men as Neville Chamberlain, A First-Rate Madness overturns many of our most cherished perceptions about greatness and the mind.

Driving down the Long Island Expressway in November of 1992, Sol Wachtler was New York’s chief judge and heir apparent to the New York governorship. Suddenly, three van loads of FBI agents swerved in front of him—bringing his car and his legal career to a halt. Wachtler's subsequent arrest, conviction, and incarceration for harassing his longtime lover precipitated a media feeding frenzy, revealing to the world his struggles with romantic attachment, manic depression, and drug abuse. In this, his prison diary, Wachtler reveals the stark reality behind his vertiginous fall from the heights of the legal establishment to the underbelly of the criminal justice system. Sentenced to a medium security prison in Butner, North Carolina, Wachtler is stabbed by an unseen assailant, berated by prison guards, and repeatedly placed in solitary confinement with no explanation. Moreover, as a prisoner he confronts firsthand the inequities of a system his judicial rulings helped to construct and befriends the type of people he once sentenced. With unflinching honesty, Wachtler draws on his unique experience of living life on both sides of the bench to paint a chilling portrait of prison life interwoven with a no‐holds‐barred analysis of the shortcomings of the American legal justice system.

Today most of us accept the consensus that madness is a medical condition: an illness, which can be identified, classified and treated with drugs like any other. In this ground breaking and controversial work Richard Bentall shatters the myths that surround madness. He shows there is no reassuring dividing line between mental health and mental illness. Severe mental disorders can no longer be reduced to brain chemistry, but must be understood psychologically, as part of normal behaviour andhuman nature. Bentall argues that we need a radically new way of thinking about psychosis and its treatment. Could it be that it is a fear of madness, rather than the madness itself, that is our problem?

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's Neveu de Rameau, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance.

Help Nancy and her friends find a prop that’s gone missing from a superhero movie set in the fifth book in an interactive Nancy Drew chapter book mystery series. Grab a piece of paper and get ready to jot down your own ideas and solutions to the case! School is out for summer and the timing is great because a movie is filming in River Heights, and Nancy, Bess, and George—along with a bunch of their classmates—get to be extras in a scene shot at the playground! The movie features Glam Girl, a fashion-forward superhero who gets her powers through her clothes. When the girls arrive on set, they catch a glimpse of the super shoes that give Glam Girl the ability to run, jump, and kick with super-speed. An assistant explains to them that there is only one pair in existence and that they were custom-made for the actress Shasta’s feet. Everyone goes wild as Glam Girl runs into the playground, blue shoes glimmering. But when Shasta’s on a between-scenes break, the shoes go missing! The director says that if the shoes aren’t found, they’ll be leaving River Heights and their scene won’t make it into the movie! Good thing Nancy happens to have her most important prop right in her pocket—her clue book. Who took the blue super shoes? Was it Paloma Garva, who needs a pair of blue shoes for her Junior Fashion Show? Was it Rosie the stunt-woman, who seems to envy Shasta’s spotlight? Or was it the Popcorn Peeps, their classmates’ film club, who need movie relics for their new museum?

The philosophy of psychosis and the psychosis of philosophy: a philosopher draws on his experience of madness. In this book, philosopher and linguist Wouter Kusters examines the philosophy of psychosis—and the psychosis of philosophy. By analyzing the experience of psychosis in philosophical terms, Kusters not only emancipates the experience of the psychotic from medical classification, he also emancipates the philosopher from the narrowness of textbooks and academia, allowing philosophers to engage in real-life praxis, philosophy in vivo. Philosophy and madness—Kusters's preferred, non-medicalized term—coexist, one mirroring the other. Kusters draws on his own experience of madness—two episodes of psychosis, twenty years apart—as well as other first-person narratives of psychosis. Speculating about the maddening effect of certain words and thought, he argues, and demonstrates, that the steady flow of philosophical deliberation may sweep one into a full-blown acute psychotic episode. Indeed, a certain kind of philosophizing may result in confusion, paradoxes, unworldly insights, and circular frozenness reminiscent of madness. Psychosis presents itself to the psychotic as an inescapable truth and reality. Kusters evokes the mad person's philosophical or existential amazement at reality, thinking, time, and space, drawing on classic autobiographical accounts of psychoses by Antonin Artaud, Daniel Schreber, and others, as well as the work of phenomenological psychiatrists and psychologists and such phenomenologists as Edmund Husserl and Maurice Merleau-Ponty. He considers the philosophical mystic and the mystical philosopher, tracing the mad undercurrent in the Husserlian philosophy of time; visits the cloud castles of mystical madness, encountering LSD devotees, philosophers, theologians, and nihilists; and, falling to earth, finds anxiety, emptiness, delusions, and hallucinations. Madness and philosophy proceed and converge toward a single vanishing point.

Sorting out fact from fiction, one of the world's leading experts presents an absorbing account of what is actually know about the complex subject of schizophrenia.

Illustrated with many color images, The Annotated Wuthering Heights provides those encountering the novel for the first time, as well as those returning to it, with a wide array of contexts in which to read Emily Brontë’s romantic masterpiece, which has been called “the most beautiful, most profoundly violent love story of all time.”