The stories we tell of American beginnings typically emphasize colonial triumph in the face of adversity. But the early years of English settlement in America were characterized by catastrophe: starvation, disease, extreme violence, ruinous ignorance, and serial abandonment. Seasons of Misery offers a provocative reexamination of the British colonies' chaotic and profoundly unstable beginnings, placing crisis—both experiential and existential—at the center of the story. At the outposts of a fledgling empire and disconnected from the social order of their home society, English settlers were both physically and psychologically estranged from their European identities. They could not control, or often even survive, the world they had intended to possess. According to Kathleen Donegan, it was in this cauldron of uncertainty that colonial identity was formed. Studying the English settlements at Roanoke, Jamestown, Plymouth, and Barbados, Donegan argues that catastrophe marked the threshold between an old European identity and a new colonial identity, a state of instability in which only fragments of Englishness could survive amid the upheavals of the New World. This constant state of crisis also produced the first distinctively colonial literature as settlers attempted to process events that they could neither fully absorb nor understand. Bringing a critical eye to settlers' first-person accounts, Donegan applies a unique combination of narrative history and literary analysis to trace how settlers used a language of catastrophe to describe unprecedented circumstances, witness unrecognizable selves, and report unaccountable events. Seasons of Misery addresses both the stories that colonists told about themselves and the stories that we have constructed in hindsight about them. In doing so, it offers a new account of the meaning of settlement history and the creation of colonial identity.

Seasons of Misery offers a boldly original account of early English settlement in American by placing catastrophe and crisis at the center of the story. Donegan argues that the constant state of suffering and uncertainty decisively formed the colonial identity and produced the first distinctly colonial literature.

On a frozen January night, a young man hangs himself in a lonely corner of the Upper Peninsula, in a place they call Misery Bay. Alex McKnight does not know this young man, and he won't even hear about the suicide until two months later, when the last person Alex would ever expect comes to him for help. What seems like a simple quest to find a few answers will turn into a nightmare of sudden violence and bloody revenge, and a race against time to catch a ruthless and methodical killer. McKnight knows all about evil. Mobsters, drug dealers, hit men—he's seen them all, and they've taken away almost everything he's ever loved. But none of them could have ever prepared him for the darkness he's about to face. A New York Times bestseller, Michigan Notable Book, and Boston Globe Best Crime Book of the Year, Steve Hamilton's Misery Bay marks the return of one of crime fiction's most critically acclaimed series.

Includes the stories “The Body” and “Rita Hayworth and Shawshank Redemption”—set in the fictional town of Castle Rock, Maine A “hypnotic” (The New York Times Book Review) collection of four novellas—including the inspirations behind the films Stand By Me and The Shawshank Redemption—from Stephen King, bound together by the changing of seasons, each taking on the theme of a journey with strikingly different tones and characters. This gripping collection begins with “Rita Hayworth and the Shawshank Redemption,” in which an unjustly imprisoned convict seeks a strange and startling revenge—the basis for the Best Picture Academy Award-nominee The Shawshank Redemption. Next is “Apt Pupil,” the inspiration for the film of the same name about top high school student Todd Bowden and his obsession with the dark and deadly past of an older man in town. In “The Body,” four rambunctious young boys plunge through the façade of a small town and come face-to-face with life, death, and intimations of their own mortality. This novella became the movie Stand By Me. Finally, a disgraced woman is determined to triumph over death in “The Breathing Method.” “The wondrous readability of his work, as well as the instant sense of communication with his characters, are what make Stephen King the consummate storyteller that he is,” hailed the Houston Chronicle about Different Seasons.

Part philosophical meditation, part cultural critique, The Body in Pain is a profoundly original study that has already stirred excitement in a wide range of intellectual circles. The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

From the Laws of Mount Misery: There are no laws in psychiatry. Now, from the author of the riotous, moving, bestselling classic, The House of God, comes a lacerating and brilliant novel of doctors and patients in a psychiatric hospital. Mount Misery is a prestigious facility set in the rolling green hills of New England, its country club atmosphere maintained by generous corporate contributions. Dr. Roy Basch (hero of The House of God) is lucky enough to train there *only to discover doctors caught up in the circus of competing psychiatric theories, and patients who are often there for one main reason: they've got good insurance. From the Laws of Mount Misery: Your colleagues will hurt you more than your patients. On rounds at Mount Misery, it's not always easy for Basch to tell the patients from the doctors: Errol Cabot, the drug cowboy whose practice provides him with guinea pigs for his imaginative prescription cocktails . . . Blair Heiler, the world expert on borderlines (a diagnosis that applies to just about everybody) . . . A. K. Lowell, née Aliyah K. Lowenschteiner, whose Freudian analytic technique is so razor sharp it prohibits her from actually speaking to patients . . . And Schlomo Dove, the loony, outlandish shrink accused of having sex with a beautiful, well-to-do female patient. From the Laws of Mount Misery: Psychiatrists specialize in their defects. For Basch the practice of psychiatry soon becomes a nightmare in which psychiatrists compete with one another to find the best ways to reduce human beings to blubbering drug-addled pods, or incite them to an extreme where excessive rage is the only rational response, or tie them up in Freudian knots. And all the while, the doctors seem less interested in their patients' mental health than in a host of other things *managed care insurance money, drug company research grants and kickbacks, and their own professional advancement. From the Laws of Mount Misery: In psychiatry, first comes treatment, then comes diagnosis. What The House of God did for doctoring the body, Mount Misery does for doctoring the mind. A practicing psychiatrist, Samuel Shem brings vivid authenticity and extraordinary storytelling gifts to this long-awaited sequel, to create a novel that is laugh-out-loud hilarious, terrifying, and provocative. Filled with biting irony and a wonderful sense of the absurd, Mount Misery tells you everything you'll never learn in therapy. And it's a hell of a lot funnier.

This book takes a fun-filled look at the foibles, follies, pratfalls, and unpredictable world of the duck hunter, from the time his alarm rings at 3:00 a.m. until he stumbles into freezing marsh water two hours later, swamping his waders but not dampening his enthusiasm for the sport. Why do duck hunters do it? Sit in driving rain for hours awaiting ducks that may never come? Shiver in freezing boats and blinds in the most inaccessible, not to mention inhospitable, environs imaginable? Author-photographer Bill Buckley writes about these magic moments with humor and verve, but it is his brilliant color photographs that steal the show. The hapless hunter who watches helplessly as his partner's Suburban backs out of the driveway-and over the gun case that holds his favorite shotgun. Click! The faithful retriever that elegantly lifts its leg and makes a sop of the hunter's blind bag. Click! And the pained expressions on the faces of duck hunters caught in the act of enjoying their favorite sport. Click. Waterfowlers who sometimes question their own sanity can now take heart. It's all right, Buckley writes, if you like standing in swamp muck for hours on end. It's okay if your family thinks you're weird. Who cares if your girlfriend diagnoses you as obsessive-compulsive or sadomasochistic? The important thing is, you're not alone.

Charlize "Charlie" Edwards finally has it all: a house in Silverlake, L.A.'s hippest neighborhood, two fabulous best friends who always have her back, and a great (though hectic) job as the personal assistant to Hollywood's hottest movie star, Drew Stanton. But best of all, Charlie has a newly feathered love nest with Jordan, the sexy photographer she recently started dating. Maybe Charlie's journal of smart-alecky life advice--which she's always been better at writing than following--has finally helped put her on the right track. Unfortunately for Charlie, Drew is causing complete havoc on his new movie set, her eccentric family is descending upon L.A. for the upcoming holiday season, and her love life may be back to square one. Jordan has left L.A. to work on a film shooting in Paris, where the women are gorgeous, sophisticated, and possibly after her man. And Drew's handsome new producer, Liam, is an old crush who has reappeared to tug at Charlie's heartstrings. Charlie's torn between the misery of waiting for Jordan and the tingly feelings she has for Liam. But there's nothing misery--or seduction--loves better than a great glass of cabernet.

This book is about the ways in which disaster-affected communities perform their misery to secure political gains. It argues that democratic politics can take root in contexts of widespread depravity and dispossession and is a testament to both the resilience and fragility of the democratic project when faced with existential threats.