A police investigation into the violent death of a part-time cathedral verger stalls for lack of incriminating evidence. However, three people have a close interest in clearing the matter up where the police have failed: the victim's sister, and two suspects released without charge and eager to clear their names.

More widely studied and more frequently performed than ever before, John Webster's The Duchess of Malfi is here presented in an accessible and thoroughly up-to-date edition. Based on the Revels Plays text, the notes have been augmented to cast further light both on Webster's amazing dialogue and on the stage action. An entirely new introduction sets the tragedy in the context of pre-Civil War England and gives a revealing view of its imagery and dramatic action. From its well-documented early performances to the two productions seen in the West End of London in the 1995-96 season, a stage history gives an account of the play in performance. Students, actors, directors and theatre-goers will all find here a reappraisal of Webster's artistry in the greatest age of English theatre, which highlights why it has lived on stage with renewed force in the last decades of the twentieth century.

What are the real disease entities in psychiatry? This is a question that has bedeviled the study of the mind for more than a century yet it is low on the research agenda of psychiatry. Basic science issues such as neuroimaging, neurochemistry, and genetics carry the day instead. There is nothing wrong with basic science research, but before studying the role of brain circuits or cerebral chemistry, shouldn't we be able to specify how the various diseases present clinically? Catatonia is a human behavioral syndrome that for almost a century was buried in the poorly designated psychiatric concept of schizophrenia. Its symptoms are well-know, and some of them are serious. Catatonic patients may die as their temperatures accelerate; they become dehydrated because they refuse to drink; they risk inanition because they refuse to eat or move. Autistic children with catatonia may hit themselves repeatedly in the head. We don't really know what catatonia is, in the sense that we know what pneumonia is. But we can identify it, and it is eminently treatable. Clinicians can make these patients better on a reliable basis. There are few other disease entities in psychiatry of which this is true. So why has there been so little psychiatric interest in catatonia? Why is it simply not on the radar of most clinicians? Catatonia actually occurs in a number of other medical illnesses as well, but it is certainly not on the radar of most internists or emergency physicians. In The Madness of Fear, Drs. Shorter and Fink seek to understand why this "vast field of ignorance" exists. In the history of catatonia, they see a remarkable story about how medicine flounders, and then seems to find its way. And it may help doctors, and the public, to recognize catatonia as one of the core illnesses in psychiatry.

"Madness" is, of course, personally experienced, but because of its intimate relationship to the sociocultural context, it is also socially constructed, culturally represented and socially controlled--all of which make it a topic rife for sociological analysis. Using a range of historical and contemporary textual material, this work exercises the sociological imagination to explore some of the most perplexing questions in the history of madness, including why some behaviors, thoughts and emotions are labeled mad while others are not; why they are labeled mad in one historical period and not another; why the label of mad is applied to some types of people and not others; by whom the label is applied, and with what consequences.

What is ‘creativity’? And what is ‘madness’? How far can we interpret an artist’s work through our knowledge of his or her mental state, and how far can we infer a mental state from a work of art? When does a work of art cease to be a personal statement by the artist and become a matter of public concern? The contributions to this book attempt to answer some of these questions. They come from a wide range of disciplines and experiences – a practising psychiatrist, a practising artist suffering from reactive depression, and critics working in literature, film, music and the visual arts. The essays include discussions of the ‘myth of creativity’, the music of Robert Schumann, the borders of sanity in the writing of Lawrence Durrell, the ‘insane truth’ of Virginia Woolf, the meeting of doctor and patient in the poetry of Anne Sexton, mood disorders in the fiction of David Foster Wallace, love and madness in the poetry of Hafiz of Shiraz, and the paintings of Adolf Wölfli. Central to this discussion of creativity, madness and civilisation is the difficulty of establishing an appropriate and effective vocabulary and mindset between critics and clinical psychiatrists, which would enable them to work together in understanding mental disturbance in creative artists.

The Madness of July is set in the late 1970s, and takes place during six sweltering days in the month that gives the book its title. Will Flemyng was trained as a spy for a life behind enemy lines, but now he is in politics—and rising to the top. But when a bizarre death starts to unravel some of the most sensitive secrets of his government, Will is drawn back into the shadows of the Cold War and begins to dance with danger once more. Buffeted by political forces and the powerful women around him, and caught in interlocking mysteries he must disentangle—including a potentially lethal family secret—Flemyng faces his vulnerability and learns, through betrayal and tragedy, more truth about his world than he has ever known. Â Masterfully weaving together espionage, political intrigue, and family drama, James Naughtie has written a spy novel for the ages, worthy of comparison to the finest work of Charles McCarry and Robert Littell.

PERFECT for fans of Roald Dahl. Think you know Dahl? Think again. There's still a whole world of Dahl to discover in a newly collected book of his deliciously dark tales for adults . . . 'There is a pleasure sure in being mad, which none but madmen know' Our greatest fear is of losing control - of our lives, but, most of all, of ourselves. In these ten unsettling tales of unexpected madness master storyteller Roald Dahl explores what happens when we let go our sanity. Among other stories, you'll meet the husband with a jealous fixation on the family cat, the landlady who wants her guests to stay forever, the man whose taste for pork leads him astray and the wife with a pathological fear of being late. Roald Dahl reveals even more about the darker side of human nature in seven other centenary editions: Cruelty, Lust, Deception, Innocence, Trickery, War and Fear.