A look at the life and career of Marilyn Monroe via her archive of artifacts, letters, and documents.

In the 20 years since the publication of the first edition of Bodyspace the knowledge base upon which ergonomics rests has increased significantly. The need for an authoritative, contemporary and, above all, usable reference is therefore great. This third edition maintains the same content and structure as previous editions, but updates the material and references to reflect recent developments in the field. The book has been substantially revised to include new research and anthropometric surveys, the latest techniques, and changes in legislation that have taken place in recent years. New coverage in the third edition: Guidance on design strategies and practical advice on conducting trials Overview of recent advances in simulation and digital human modes Dynamic seating · Recent work on hand/handle interface Computer input devices · Laptop computer use and children’s use of computers · Design for an aging population and accessibility for people with disabilities · New approaches to risk management and new assessment tools, legislation, and standards As the previous two editions have shown, Bodyspace is an example of the unusual: a text that is a favorite among academics and practitioners. Losing none of the features that made previous editions so popular, the author skillfully integrates new knowledge into the existing text without sacrificing the easily accessible style that makes this book unique. More than just a reference text, this authoritative book clearly delineates the field of ergonomics.

Artist, poet, educationalist and autobiographer, Marion Milner is considered one of the most original of psychoanalytic thinkers whose life (1900-1998) spans a century of radical change. Marion Milner: The Life, is the first biography of this extraordinary woman. It introduces Milner and her works to the reader through her family, colleagues and, above all through her books, charting their evolution and development as well as their critical reception and contribution to current twenty-first century debates and discourses. In this book Emma Letley draws on primary sources, including the newly-opened Marion Milner Collection at the Archives of the British Psychoanalytical Society in London, as well as interviews and the re-contextualised series of Milner texts. She traces the process of Milner's writing of her books, her discovery of psychoanalysis, her training and her place in that world from the 1940's onwards. Marion Milner: The Life includes discussion of Milner's connection with D.W. Winnicott and her emergence as a most individual member of the Independent Group. Letley also shows how Milner's Personal Notebooks offer fascinating insights into her relationships, both personal and professional, and into many of her important ideas on creativity, the body-mind relationship, her revolutionary ideas on education and her particular personality as clinician working with both children and adults. Further, Letley explores Milner's literary character from her very early diaries and narratives to her last book written in her 90's published in 2012. Marion Milner: The Life places Marion Milner firmly in her Edwardian family setting and contains new material from primary sources, including a new view of her collegial connections. It provides a wealth of material on her life and works that will be invaluable to psychoanalysts, psychotherapists, art psychotherapists, students, those involved with life writing and autobiography, and the general reader.

Some critics rank biographers just above serial murderers. The author of this book, a self-described member of the Samuel Johnson school, doesn't share this view. An account of a life, he believes, should adhere to the truth as the biographer sees it, not to the sentiments of others. This memoir of a professional biographer's life tells the inside story of how he became interested in his subjects and reveals the mechanics of the trade: how to assemble proposals for publishers, conduct interviews and archival research, and joust with editors, subjects and their literary estates. Other biographers have described their process but remained discrete, not wishing to offend their sources and supporters. This author has forgone such caution.