A brilliant, lost feminist classic that is equal parts domestic drama and international intrigue. Shirley and Coenraad’s affair has been going on for decades, but her longing for him is as desperate as ever. She is a Toronto housewife; he works for an international organization known only as the Agency. Their rendezvous take place in Tangier, in Hong Kong, in Rome and are arranged by an intricate code based on notes slipped into issues of National Geographic. He recognizes her by her costume: a respectable black dress and string of pearls; his appearance, however, is changeable. But something has happened, the code has been discovered, and Coenraad sends Shirley (who prefers to be known as “Lola Montez”) to Toronto, the last place she wants to go. There the trail leads her through the sites of her impoverished immigrant childhood and sends her, finally, to her own house, where she discards her pearls and trades in her basic black for a dress of vibrant multicolored silk. Helen Weinzweig published her first novel when she was fifty-eight. Basic Black with Pearls, her second, won the Toronto Book Award and has since come to be recognized as a feminist landmark. Here Weinzweig imbues the formal inventiveness of the nouveau roman with psychological poignancy and surprising humor to tell a story of simultaneous dissolution and discovery.

THE STORY: Self-assured and unyielding, Bart Kramer after accepting an important business position inexorably intrudes himself into the lives of his associates. Coldly and dispassionately he sets out to save it, particularly the young man who has

The first memoir by Wayne Kramer, legendary guitarist and cofounder of quintessential Detroit proto-punk legends The MC5 "Voyeuristically dramatic." -THE NEW YORK TIMES BOOK REVIEW In January 1969, before the world heard a note of their music, the MC5 was on the cover of Rolling Stone. Led by legendary guitarist Wayne Kramer, the band was a reflection of the times: exciting, sexy, violent, chaotic, and even out of control. The missing link between free jazz and punk rock, the MC5 toured the country, played alongside music legends, and had a rabid following, their music acting as the soundtrack to the blossoming blue collar youth movement. Kramer wanted to redefine what a rock 'n' roll group was capable of, and though there was power in reaching for that, it was also a recipe for personal and professional disaster. The band recorded three major label albums but, by 1972-it was all over. Kramer's story is (literally) a revolutionary one, but it's also the deeply personal struggle of an addict and an artist, a rebel with a great tale to tell. From the glory days of Detroit to the junk-sick streets of the East Village, from Key West to Nashville and sunny L.A., in and out of prison and on and off of drugs, Kramer's is the classic journeyman narrative, but with a twist: he's here to remind us that revolution is always an option.

Although this is a clinical text, it is also more a conversation than a book. It is a means of sharing the work of artists, most of whom have varying degrees of special needs. It emphasizes that handicapping conditions do not constitute a barrier for creating therapeutically meaningful art. The precepts of Edith Kramer focus on subtly suggesting media, content, or techniques, all without interfering with the artist’s preferences. This intervention came to be known as the ‘Third Hand’ where the artist in therapy is free to accept, reject or ignore the therapist’s suggestions. The case vignettes describe how aesthetic richness is also illustrative of the uniqueness of clients’ clinical stories, with the artists’ emotional or behavioral challenges overcoming and even benefiting by their conditions. The work of early pioneers who influenced Kramer’s illustrate how her own analytical methods later shaped her approach. The format in this book also questions the author as being the ultimate authority, by posing questions to the reader, says a kind of dialogue that emphasizes there are no absolutes in art, behavioral science or therapy. While espousing Kramer’s and his own ideas, Henley also includes those of other art therapists who contribute their own expertise, in the hope that the analyses will be enriched from multiple perspectives. Dr. Henley describes how her therapeutic interventions were debated during their many years of collegial interaction. By describing Kramer’s early influences and personal art history, he describes how Kramer’s interventions helped innumerable clients and trained hundreds of student therapists. These facets will hopefully enable creative arts therapists to implement her patented artist-centered interventions. The processes and artistic outcomes will lead the way, guiding the reader toward the uses of the Third Hand and hopefully bring alive the uniqueness of these special artists’ stories.

Thirty-nine-year-old Fred Lemish had always hoped that love would find him by the age of forty, and with four days to go, he begins a compulsive, yet humorous, search for that love and commitment, in a classic novel of gay life. Reprint.

"Deeply felt... [Kramer's] book is a polemic against a society that accepts depression as a fact of life." —O, The Oprah Magazine A profound look at depression by the author of The New York Times Bestseller, Listening to Prozac In his landmark bestseller Listening to Prozac, Peter Kramer revolutionized the way we think about antidepressants and the culture in which they are so widely used. Now Kramer offers a frank and unflinching look at the condition those medications treat: depression. Definitively refuting our notions of "heroic melancholy," he walks readers through groundbreaking new research—studies that confirm depression's status as a devastating disease and suggest pathways toward resilience. Thought-provoking and enlightening, Against Depression provides a bold revision of our understanding of mood disorder and promises hope to the millions who suffer from it.