Have you ever worried that you're doing a poor job of feeling poorly? Have you despaired that you're failing in your ailing? Have you felt you're missing out on TLC? You're not alone - it seems that most people these days just don't know how to make the most of being ill. In a society where there is a pill to cure more or less everything, this how-to guide will teach readers about the subtle art of being an invalid. It covers age-old remedies for common maladies, all but forgotten treatments, and the vital preparations that should be made to make being bed-ridden as comfortable and productive as possible. From the team that created the UK Booksellers Association Top 5 Christmas book, 101 Uses of a Dead Kindle, and Amazon bestseller, In Rude Health, The Art of Being Ill is at times practical, at times hilarious - but always an honest instruction manual for those who are truly terrible at being ill.

Virginia Woolf’s daring essay on how illness transforms our perception, plus an essay by Woolf’s mother from the caregiver’s perspective: “Revelatory.” —Booklist This new publication of “On Being Ill” with “Notes from Sick Rooms” presents Virginia Woolf and her mother, Julia Stephen, in textual conversation for the first time in literary history. In the poignant and humorous essay “On Being Ill,” Woolf observes that though illness is part of every human being’s experience, it is not celebrated as a subject of great literature in the way that love and war are embraced by writers and readers. We must, Woolf says, invent a new language to describe pain. Illness, she observes, enhances our perceptions and reduces self-consciousness; it is “the great confessional.” Woolf discusses the taboos associated with illness, and she explores how it changes our relationship to the world around us. “Notes from Sick Rooms,” meanwhile, addresses illness from the caregiver’s perspective. With clarity, humor, and pathos, Julia Stephen offers concrete information that remains useful to nurses and caregivers today. This edition also includes an introduction to “Notes from Sick Rooms” by Mark Hussey, founding editor of Woolf Studies Annual, and a poignant afterword by Rita Charon, MD, founder of the field of Narrative Medicine. In addition, Hermione Lee’s brilliant introduction to “On Being Ill” offers a superb overview of Woolf’s life and writing. “Woolf’s inquiry into illness and its impact on the mind is paired with her mother’s observations about caring for the body. Julia Stephen . . . had no professional training but took to heart Florence Nightingale’s precept that every woman is a nurse and emulated Nightingale’s best-selling Notes on Nursing with her own “Notes from Sick Rooms.” In this long-overlooked, precise, and piquant little manual, Stephen is compassionate and ironic, observing that everyone deserves to be tenderly nursed while addressing the small evil of crumbs in bed. This unprecedented literary reunion of mother and daughter is stunning on many fronts, but physician and literary scholar Rita Charon focuses on the essentials in her astute afterword, writing that Woolf’s perspective as a patient and Stephen’s as a nurse together illuminate the goal of care—to listen, to recognize, to imagine, to honor.” —Booklist “Woolf and Stephen will certainly change the way readers think of illness.” —Publishers Weekly

This life-affirming, instructive and thoroughly inspiring book is a must-read for anyone who is--or who might one day be--sick. And it can also be the perfect gift of guidance, encouragement, and uplifting inspiration to family, friends, and loved ones struggling with the many terrifying or disheartening life changes that come so close on the heels of a diagnosis of a chronic condition or even life-threatening illness. The author--who became ill while a university law professor in the prime of her career--tells the reader how she got sick and, to her and her partner's bewilderment, stayed that way. Toni had been a longtime meditator, going on long meditation retreats and spending many hours rigorously practicing, but soon discovered that she simply could no longer engage in those difficult and taxing forms. She had to learn ways to make "being sick" the heart of her spiritual practice--and through truly learning how to be sick, she learned how, even with many physical and energetic limitations, to live a life of equanimity, compassion, and joy. And whether we ourselves are sick now or not, we can learn these vital arts of living well from "How to Be Sick."

Using the lives of artists as inspiration, "When Walls Become Doorways" explores the transformative power of illness and the ability of productivity and creativity to heal the soul.

Most of us can recall a time when we pretended to be sick to reap the benefits that go along with illness. By playing sick, we gained sympathy, care, and attention, and were excused from our responsibilities. Though doing so on occasion is considered normal, there are those who carry their deceptions to the extreme. In this book, Dr. Marc Feldman describes people’s strange motivations to fabricate or induce illness or injury to satisfy deep emotional needs. Doctors, family members, and friends are lured into a costly, frustrating, and potentially deadly web of deceit. From the mother who shaves her child’s head and tells her community he has cancer, to the co-worker who suffers from a string of incomprehensible "tragedies," to the false epilepsy victim who monopolizes her online support group, "disease forgery" is ever-present in the media and in many people’s lives. In Dying to be Ill: True Stories of Medical Deception, Dr. Feldman, with the assistance of Gregory Yates, has chronicled this fascinating world as well as the paths to healing. With insight developed from 25 years of hands-on experience, Dying to be Ill is sure to stand as a classic in the field.

The cultural and narrative significance of illness, nursing and the sickroom in Victorian literature.

Over the past two decades, there has been a major increase in research into the effects of the arts on health and well-being, alongside developments in practice and policy activities in different countries across the WHO European Region and further afield. This report synthesizes the global evidence on the role of the arts in improving health and well-being, with a specific focus on the WHO European Region. Results from over 3000 studies identified a major role for the arts in the prevention of ill health, promotion of health, and management and treatment of illness across the lifespan. The reviewed evidence included study designs such as uncontrolled pilot studies, case studies, small-scale cross-sectional surveys, nationally representative longitudinal cohort studies, community-wide ethnographies and randomized controlled trials from diverse disciplines. The beneficial impact of the arts could be furthered through acknowledging and acting on the growing evidence base; promoting arts engagement at the individual, local and national levels; and supporting cross-sectoral collaboration.

No one is more conscious of the faults of this work than the author. Therefore some self -criticism should be woven into this foreward. There are two possible methodologically pure solutions to this book's theme: a de scriptive catalog of the pictures couched in the language of natural science and accom panied by a clinical and psychopathological description of the patients, or a completely metaphysically based investigation of the process of pictorial composition. According to the latter, these unusual works, explained psychologically, and the exceptional circum stances on which they are based would be integrated as a playful variation of human expression into a total picture of the ego under the concept of an inborn creative urge, behind which we would then only have to discover a universal need for expression as an instinctive foundation. In brief, such an investigation would remain in the realm of phenomenologically observed existential forms, completely independent of psychiatry and aesthetics. The compromise between these two pure solutions must necessarily be piecework and must constantly defend itself against the dangers of fragmentation. We are in danger of being satisfied with pure description, the novelistic expansion of details and questions of principle; pitfalls would be very easy to avoid if we had the use of a clearly outlined method. But the problems of a new, or at least never seriously worked, field defy the methodology of every established subject.

An intrepid, galvanizing meditation on illness, disability, feminism, and what it means to be alive. In 1995 Alice’s mother collapsed with pneumonia. She never fully recovered and was eventually diagnosed with ME, or Chronic Fatigue Syndrome. Then Alice got ill. Their symptoms mirrored their mother’s and appeared to have no physical cause; they received the same diagnosis a few years later. Ill Feelings blends memoir, medical history, biography and literary nonfiction to uncover both of their case histories, and branches out into the records of ill health that women have written about in diaries and letters. Their cast of characters includes Virginia Woolf and Alice James, the poets Elizabeth Barrett Browning and Emily Dickinson, John Ruskin’s lost love Rose la Touche, the artist Louise Bourgeois and the nurse Florence Nightingale. Suffused with a generative, transcendent rage, Alice Hattrick’s genre-bending debut is a moving and defiant exploration of life with a medically unexplained illness.

“There’s an art to being anxious for nothing. There’s an art to being at peace with God, your neighbor, your world, and yourself. Oh what a great friend, follower, and citizen you are if you are at peace just being you. Start there, and you can go anywhere.” –from the foreword by Charlie Peacock It’s Not What You Do. It’s Who You Are. In today’s achievement-oriented culture, it can feel impossible to separate who we are from what we accomplish. We introduce ourselves by announcing what we do for a living. Endless “to do” lists drive us away from self-discovery and true contentment. We hope that our successes will cause our busyness to feel worthwhile, yet despite our accomplishments, we long for something more. Featuring original essays and stories from a diverse list of contributors including Jonathan Foreman (Switchfoot), Sara Groves, Matthew Odmark (Jars of Clay), Gloria Gaither, Don and Lori Chaffer (Waterdeep), Tammy Trent, and Linford Detweiler (Over the Rhine), The Art of Being explores what it really means to “be” who we are. Here you will find an encouraging, challenging companion on your journey toward discovering your true identity–and toward finding a satisfaction that lasts. Life Is Not a Resumé Higher bank balances, stylish clothes, and popularity among our peers may look impressive on the surface, but these things don’t satisfy our craving for contentment. True satisfaction is found when our spirit is fed with a sense of purpose. The stories and reflections in The Art of Being will inspire you to resist the disappointing pursuit of the temporal and explore a deeper understanding of who you are as the unique artwork of your Creator.