"So truthful, bold, clear, candid and convincing that I read it in one breathless sitting" Stephen Fry One night three years ago Josh Roberts went to a party. The next morning he awoke to discover his mind had collapsed. In a matter of days he went from being a fun loving, seemingly successful twenty-something to a hot mess of tears and nerves. Eventually he was diagnosed with Generalised Anxiety Disorder (GAD). Since then, he's been mending his mind, rediscovering happiness and learning to live his nervous life. Anxious Man is the story of all this. Told with originality, wit and great humour, it's an essential guide for mental health and a thought-provoking exploration of the millennial condition. *************** "The best book I have ever written" Josh Roberts (debut author of Anxious Man) "Yep, fine" Cali Mackrill (girlfriend of author of Anxious Man) "Have you seen my scissors?" Vicky Roberts (mother of author of Anxious Man)

Explores representations of men and masculinity in American fiction published after the Second World WarOffers readings of a wide selection of postwar American novels from 1945 to the mid-1950s, including canonical works, from the unique perspective of their representation of male identityProvides rich comparative insights through analysis of fiction by writers of diverse race, class and sexualityDemonstrates how gender theory generates insights into the constitution of American masculinity in fictionFocusing on a complex and contentious period that was formative in shaping American society and culture in the twentieth century, this book sheds new light on the ways in which fiction engaged with contemporary notions of masculinity. It draws on gender theory and analysis of writers from diverse backgrounds of race, class and sexuality to provide rich comparative insights into the constitution of American masculinity in fiction. The extensive range of novels considered includes fresh analyses of key authors such as James Baldwin, Truman Capote, Patricia Highsmith, Jack Kerouac, Norman Mailer, Ann Petry, J. D. Salinger and Gore Vidal.

Focusing on a complex and contentious period that was formative in shaping American society and culture in the twentieth century, this book sheds new light on the ways in which fiction engaged with contemporary notions of masculinity.

Universally accessible and employing common visual tropes such as the monochrome and the grid, Johnson's work is also self-referential, making specific allusion to his upbringing in Chicago and the Afro-centric values of his parents. In Rashid Johnson: Anxious Men, the artist creates a site-specific installation in the Drawing Room gallery. The core of the exhibition is a new series of black-soap-and-wax-on-tile portraits that Johnson calls his "anxious men." Executed by digging into a waxy surface, they enact a kind of drawing through erasure and represent the first time Johnson has worked figuratively outside of photography or film, and on such a small scale. Whereas Johnson's previous work has taken a more cerebral approach to questions of race and political identity, the drawn portraits confront the viewer with a visceral immediacy. The portraits are set within a multi-sensory environment that includes wallpaper featuring a photograph of the artist's father from the year Johnson was born, and an audio sound track comprised of Melvin Van Peebles's "Love, That's America," a song that originally appeared in Peebles's 1970 film Watermelon Man and that was recently pressed into service by the Occupy Wall Street movement. In this way, the exhibition, documented in this volume, creates an immersive space that implicates not only the artist but also the viewer in its interrogation of selfhood and identity.

Origins of Phobias and Anxiety Disorders

An ethnographic study of China’s new elites and their rarified world of debauchery and corruption: “A must have book for China studies” (Choice). This pioneering investigation reveals the private lives—and the nightlives—of the powerful entrepreneurs and managers redefining success and status in the Chinese city of Chengdu. For more than three years, anthropologist John Osburg accompanied wealthy Chinese businessmen as they courted clients, partners, and government officials. Now he invites readers along on his journey through the highly gendered world of luxury karaoke clubs, saunas, and massage parlors—places designed to cater to the desires of elite men. Within these spaces, a masculinization of business is taking place. Osburg details the complex code of behavior that governs businessmen as they go about banqueting, drinking, gambling, bribing, exchanging gifts, and obtaining sexual services. These intricate social networks play a key role in generating business, performing social status, and reconfiguring gender roles. Yet underneath the façade, many entrepreneurs feel trapped by their obligations and moral compromises in this evolving environment. Osburg examines their deep ambivalence about China’s future and their own complicity in the major issues of post-Mao Chinese society—corruption, inequality, materialism, and loss of trust.

The first new translation of Kierkegaard's masterwork in a generation brings to vivid life this essential work of modern philosophy. Brilliantly synthesizing human insights with Christian dogma, Soren Kierkegaard presented, in 1844, The Concept of Anxiety as a landmark "psychological deliberation," suggesting that our only hope in overcoming anxiety was not through "powder and pills" but by embracing it with open arms. While Kierkegaard's Danish prose is surprisingly rich, previous translations—the most recent in 1980—have marginalized the work with alternately florid or slavishly wooden language. With a vibrancy never seen before in English, Alastair Hannay, the world's foremost Kierkegaard scholar, has finally re-created its natural rhythm, eager that this overlooked classic will be revivified as the seminal work of existentialism and moral psychology that it is. From The Concept of Anxiety: "And no Grand Inquisitor has such frightful torments in readiness as has anxiety, and no secret agent knows as cunningly how to attack the suspect in his weakest moment, or to make so seductive the trap in which he will be snared; and no discerning judge understands how to examine, yes, exanimate the accused as does anxiety, which never lets him go, not in diversion, not in noise, not at work, not by day, not by night."