The publication of this work resulted in a public outcry in the 1900's that began an inquiry into the state of U.S. mental health care and psychiatric services. It contributed significantly to the mental hygiene movement and to establish the National Committee for Mental Hygiene

Norman Dain offers a compelling biography of Clifford W. Beers, whose lifelong battle against his own mental illness inspired him to become a champion for mental health. Beers' autobiography, A Mind That Found Itself, created a public outcry in 1908, as it chronicled Beers' experiences during his three-year confinement in an asylum. Despite his disability, Beers went on to found the National Committee for Mental Hygiene (now the National Association for Mental Health), the American Foundation for Mental Hygiene, and the International Committee for Mental Hygiene.

Headcase is a groundbreaking collection of personal reflections and artistic representations illustrating the intersection of mental wellness, mental illness, and LGBTQ identity, as well as the lasting impact of historical views equating queer and trans identity with mental illness. The featured pieces offer personal views from both providers and clients, often one and the same, about their experiences. In the anthology, readers will access the inner thoughts of contributors who collectively document the difficulty of navigating flawed healthcare systems that limit affordable access to genuinely affirming, effective services. Traversing boundaries of race and ethnic identity, age, gender identity, and socioeconomic status, Headcase appeals to LGBTQ communities and, specifically, LGBTQ mental health consumers and their friends, families, and comrades.

Defines an approach to mental healthcare focused on achieving international equity in coverage, options and outcomes.

The Predicament of Culture is a critical ethnography of the West in its changing relations with other societies. Analyzing cultural practices such as anthropology, travel writing, collecting, and museum displays of tribal art, James Clifford shows authoritative accounts of other ways of life to be contingent fictions, now actively contested in post-colonial contexts. His critique raises questions of global significance: Who has the authority to speak for any group’s identity and authenticity? What are the essential elements and boundaries of a culture? How do self and “the other” clash in the encounters of ethnography, travel, and modern interethnic relations? In chapters devoted to the history of anthropology, Clifford discusses the work of Malinowski, Mead, Griaule, Lévi-Strauss, Turner, Geertz, and other influential scholars. He also explores the affinity of ethnography with avant-garde art and writing, recovering a subversive, self-reflexive cultural criticism. The surrealists’ encounters with Paris or New York, the work of Georges Bataille and Michel Leiris in the Collège de Sociologie, and the hybrid constructions of recent tribal artists offer provocative ethnographic examples that challenge familiar notions of difference and identity. In an emerging global modernity, the exotic is unexpectedly nearby, the familiar strangely distanced.

The African Hebrew Israelites of Jerusalem are often dismissed as a fringe cult for their beliefs that African Americans are descendants of the ancient Israelites and that veganism leads to immortality. But John L. Jackson questions what “fringe” means in a world where cultural practices of every stripe circulate freely on the Internet. In this poignant and sophisticated examination of the limits of ethnography, the reader is invited into the visionary, sometimes vexing world of the AHIJ. Jackson challenges what Clifford Geertz called the “thick description” of anthropological research through a multidisciplinary investigation of how the AHIJ use media and technology to define their public image in the twenty-first century. Moving far beyond the “modest witness” of nineteenth-century scientific discourse or the “thick descriptions” of twentieth-century anthropology, Jackson insists that Geertzian thickness is an impossibility, especially in a world where the anthropologist’s subject is a self-aware subject—one who crafts his own autoethnography while critically consuming the ethnographer’s offerings. Thin Description takes as its topic a group situated along the fault lines of several diasporas—African, American, Jewish—and provides an anthropological account of how race, religion, and ethnographic representation must be understood anew in the twenty-first century lest we reenact old mistakes in the study of black humanity.