Is the life unexamined by the fMRI not worth living? Can biology replace the humanities in capturing what it means to be human? Biomythology levels the playing field of skepticism, doing for Darwin and science what Richard Dawkins has attempted for God and religion. This irreverent romp reasons: "Once upon a time there were nine planetsscientific truth rests on the faith that future discoveries will not turn today's facts into tomorrow's fairytales." "Science is the art of arranging observations to fit theory. When applied to alter minds rather than matter, the evidence can be as convincing as a serial killer's smile on your first date." "With prenatal testing building better bell curves by controlling the gateway to our brave new world, eugenics is thriving." Biomythology will teach the skeptic to recognize over twenty rhetorical devices of scientific persuasion that can be borrowed to change our worldviews rather than the world we view.

Examining the nature of weakness has inspired some of the most influential aesthetic and philosophical portraits of the human condition. By reading a selection of canonical literary and philosophical texts, Michael O'Sullivan charts a history of responses to the experience and exploration of weakness. Beginning with Plato and Aristotle, this first book-length study of the concept explores weakness as it is interpreted by Lao Tzu, Nietzsche, Derrida, the Romantics, Dickens and the Modernists. It examines what feminist writers Simone de Beauvoir and Luce Irigaray have made of the gendered biomythology constructed around the figure of the "weaker vessel" and it considers related notions such as im-potentiality, a "syntax of weakness" and human vulnerability in the work of Agamben, Beckett and Coetzee. Through analysis of these differing versions of weakness, O'Sullivan's study challenges the popular myth that aligns masculine identity with strength and force and presents a humane weakness as a guiding motif for debates in ethics.

Prozac, Xanax, Halcion, Haldol, Lithium. These psychiatric drugs--and dozens of other short-term "solutions"--are being prescribed by doctors across the country as a quick antidote to depression, panic disorder, obsessive-compulsive disorder, and other psychiatric problems. But at what cost? In this searing, myth-shattering exposé, psychiatrist Peter R. Breggin, M.D., breaks through the hype and false promises surrounding the "New Psychiatry" and shows how dangerous, even potentially brain-damaging, many of its drugs and treatments are. He asserts that: psychiatric drugs are spreading an epidemic of long-term brain damage; mental "illnesses" like schizophrenia, depression, and anxiety disorder have never been proven to be genetic or even physical in origin, but are under the jurisdiction of medical doctors; millions of schoolchildren, housewives, elderly people, and others are labeled with medical diagnoses and treated with authoritarian interventions, rather than being patiently listened to, understood, and helped. Toxic Psychiatry sounds a passionate, much-needed wake-up call for everyone who plays a part, active or passive, in America's ever-increasing dependence on harmful psychiatric drugs.

Life and death are commonly seen as representing the starkest of binaries: Death is the ultimate adversary of all that lives. Beatrice Marovich argues that such understandings of mortality have been deeply influenced by a strain of Christian political theology that has left its mark on both religious and secular narratives. Adapting the figure of “Sister Death” from Saint Francis of Assisi, she calls for recognizing that life and death are family. Drawing on a wide range of sources—from Toni Morrison to Jacques Derrida, psychoanalysis to grassroots “death positive” movements—Marovich critiques a racialized political theology that pits life and death against each other in a state of endless war. In a time of extinctions, it is necessary to disrupt this dominant story in order to apprehend death as a collective, multispecies event. Sister Death proposes an alternative view in which life and death are not mortal enemies destined for mutual destruction. Instead, they are engaged in a contested, tense, and sometimes mutually empowering form of connection—a sisterhood. Eloquent and approachable, this book deftly integrates the insights of a number of disciplines to provide a profound reconsideration of the relations between life and death. Sister Death also features a series of original works by the artist Krista Dragomer that stage an ongoing conceptual conversation with the text.

One of the BBC's '100 Novels That Shaped Our World' If I didn't define myself for myself, I would be crunched into other people's fantasies for me and eaten alive A little black girl opens her eyes in 1930s Harlem, weak and half-blind. On she stumbles - through teenage pain and loneliness, but then to happiness in friendship, work and sex, from Washington Heights to Mexico, always changing, always strong. This is Audre Lorde's story. A rapturous, life-affirming autobiographical novel by the 'Black, lesbian, mother, warrior poet', it changed the literary landscape. 'Her work shows us new ways to imagine the world ... so many themes of Audre's work have endured' Renni Eddo Lodge, author of Why I'm No Longer Talking to White People About Race 'I came across Audre Lorde's Zami, and I cried to think how lucky I was to have found her. She was an inspiration' Jackie Kay

In recent decades, America has been waging a veritable war on fat in which not just public health authorities, but every sector of society is engaged in constant "fat talk" aimed at educating, badgering, and ridiculing heavy people into shedding pounds. We hear a great deal about the dangers of fatness to the nation, but little about the dangers of today’s epidemic of fat talk to individuals and society at large. The human trauma caused by the war on fat is disturbing—and it is virtually unknown. How do those who do not fit the "ideal" body type feel being the object of abuse, discrimination, and even revulsion? How do people feel being told they are a burden on the healthcare system for having a BMI outside what is deemed—with little solid scientific evidence—"healthy"? How do young people, already prone to self-doubt about their bodies, withstand the daily assault on their body type and sense of self-worth? In Fat-Talk Nation, Susan Greenhalgh tells the story of today’s fight against excess pounds by giving young people, the campaign’s main target, an opportunity to speak about experiences that have long lain hidden in silence and shame.Featuring forty-five autobiographical narratives of personal struggles with diet, weight, "bad BMIs," and eating disorders, Fat-Talk Nation shows how the war on fat has produced a generation of young people who are obsessed with their bodies and whose most fundamental sense of self comes from their size. It reveals that regardless of their weight, many people feel miserable about their bodies, and almost no one is able to lose weight and keep it off. Greenhalgh argues that attempts to rescue America from obesity-induced national decline are damaging the bodily and emotional health of young people and disrupting families and intimate relationships.Fatness today is not primarily about health, Greenhalgh asserts; more fundamentally, it is about morality and political inclusion/exclusion or citizenship. To unpack the complexity of fat politics today, Greenhalgh introduces a cluster of terms—biocitizen, biomyth, biopedagogy, bioabuse, biocop, and fat personhood—and shows how they work together to produce such deep investments in the attainment of the thin, fit body. These concepts, which constitute a theory of the workings of our biocitizenship culture, offer powerful tools for understanding how obesity has come to remake who we are as a nation, and how we might work to reverse course for the next generation.