8 Friends get together to go on an expedition in the mountains of Norway to learn more about the habits of the scandinavian wolves. One of them comes across a map with some frightening notes writen on it. The notes indicate that there are Trolls in that mountain area and they are far from how they are described in Norwegian fairytales. The notes discribe them as blood thirsty predetors. The friends start disapearing one after the other and they soon find out that they are being hunted. The soul survivor of the Expedition is locked away in a psychiatric ward because the authorities think he is the murderer but they dont have any evidence to get him convicted and put in jail. He tells his tale and soon reviels that he has done much more that the police would be interested in. He is Europes most wanted criminal but no one knows who he is until his confession was published by a student that he convinces to help him. The reason for his confession turns out to be his broken heart. Broken because one of his victims was his girlfriend that he killed unintentionally. After confessing to many unsolved murders and murders that the police didn't even know occured he goes back and tells the true story of what happen to the 8 friends on their expedition. ForeWord Clarion Book Review

A journal of statistics emphasizing the statistical study of biological problems. Papers contain original theoretical contributions of direct or potential value in applications.

Focusing selectively upon his subjects, Porter here explores the thoughts and feelings of a number of insane people, primarily making use of their own writings. His aim is not to analyze the subconscious motivations of the insane, but to determine the intentions of their conscious minds.

Seeing the Insane is a richly detailed cultural history of madness and art in the Western world, showing how the portrayal of stereotypes has both reflected and shaped the perception and treatment of the mentally disturbed.

In the mid-1800s, a utopian movement to rehabilitate the insane resulted in a wave of publicly funded asylums—many of which became unexpected centers of cultural activity. Housed in magnificent structures with lush grounds, patients participated in theatrical programs, debating societies, literary journals, schools, and religious services. Theaters of Madness explores both the culture these rich offerings fomented and the asylum’s place in the fabric of nineteenth-century life, reanimating a time when the treatment of the insane was a central topic in debates over democracy, freedom, and modernity. Benjamin Reiss explores the creative lives of patients and the cultural demands of their doctors. Their frequently clashing views turned practically all of American culture—from blackface minstrel shows to the works of William Shakespeare—into a battlefield in the war on insanity. Reiss also shows how asylums touched the lives and shaped the writing of key figures, such as Emerson and Poe, who viewed the system alternately as the fulfillment of a democratic ideal and as a kind of medical enslavement. Without neglecting this troubling contradiction, Theaters of Madness prompts us to reflect on what our society can learn from a generation that urgently and creatively tried to solve the problem of mental illness.