Suelette Dreyfus and her co-author, WikiLeaks founder Julian Assange, tell the extraordinary true story of the computer underground, and the bizarre lives and crimes of an elite ring of international hackers who took on the establishment. Spanning three continents and a decade of high level infiltration, they created chaos amongst some of the world's biggest and most powerful organisations, including NASA and the US military. Brilliant and obsessed, many of them found themselves addicted to hacking and phreaking. Some descended into drugs and madness, others ended up in jail. As riveting as the finest detective novel and meticulously researched, Underground follows the hackers through their crimes, their betrayals, the hunt, raids and investigations. It is a gripping tale of the digital underground.

Amer. consume 57% of the world's advertising while representing only 6% of the population, & half of our waking hours are spent immersed in the mass media. Drawing on the history of propaganda as well as on contemporary res. in social psychol., this book shows how the tactics used by political campaigners, sales agents, advertisers, televangelists, demagogues, & others often take advantage of our emotions by appealing to our deepest fears & most irrational hopes, creating a distorted vision of the world we live. This updated ed. includes coverage of the Clinton/Lewinsky scandal, recent election campaigns, talk radio, teen suicide, UFO abductions, the Columbine shootings, & novel propaganda tactics based on hypocrisy & false allegations.

As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.

This is the story of Ida, whose life consists mainly of resting, because she is always tired; of talking to herself; and of getting married, time after time. When it was first published New York Times wrote: 'One might call it a short novel, a long poem, or a modern fairy tale.' --

NAMED ONE OF THE 100 MUST-READ BOOKS OF THE YEAR BY TIME MAGAZINE “A cheerful, mischievous rebuke to all that spiritual sincerity and floaty nonattachment and sugary loving kindness” ( The Wall Street Journal ), this first and only comprehensive examination of the universal, but widely misunderstood, practice of grudge-holding will show you how to use grudges to be your happiest, most optimistic, and most forgiving self. Secretly, we all hold grudges, but most of us probably think we shouldn’t, and many of us deny that we do. To bear a grudge is too negative, right? Shouldn’t we just forgive and move on? Wrong, says prolific crime novelist and self-appointed grudge guru Sophie Hannah, in her groundbreaking and irreverent self-help guide. Yes, it’s essential to think positively if we want to live happy lives, but even more crucial is how we get to the positive. Denying our negative emotions and experiences is likely to lead only to more pain, conflict, and stress. What if our grudges are good for us? What if we could embrace them, and use them to help ourselves and others, instead of feeling ashamed of our inability to banish negative emotions and memories from our lives? With contributions from expert psychotherapists as well as extracts from her own extensive catalog of grudges, Sophie Hannah investigates the psychological origins of grudges and also offers not-so-obvious insights into how we should acknowledge—and embrace—them in order to improve the quality of our interpersonal relationships and senses of self. Grudges do not have to fill us with hate or make us toxic, bitter, and miserable. If we approach the practice of grudge-holding in an enlightened way, it will do the opposite—we will become more forgiving. For fans of Sophie Hannah’s bestselling crime novels who have ever wondered what is going on in her unusual, brilliant mind, How to Hold a Grudge is “a perfect document” ( The New York Times ) that also reveals everything we need to know about the many different forms of grudge, the difference between a grudge and not-a-grudge (not as obvious as it seems), when we should let a grudge go, and how to honor a grudge and distill lessons from it. Hannah’s practical, compassionate, and downright funny guide can turn us into better, happier people.

As compelling and as insightful as Hot Flashes, Loose Ends is a sharply drawn portrait of modern marriage and morals that will strike familiar chords in all who read it. Packed with the punchy, preposterous poignancy of real life, Loose Ends is a novel about picking up the pieces when life falls apart.

Through the examination of a range of literary and cinematic texts, from William Wyler's classic The Best Years of Our Lives to the novels of Henry James, Silverman offers a bold new look at masculinities which deviate from the social norm.

The classic memior of Betty Jean Lifton's search for her secret past that helped open the way for so many others. Betty Jean Lifton, acclaimed author of several books on the psychology of the adtoped that have helped open the field, tells her own story of growing up adtoped in the closed adoption system. Calling Twice Born both an autobiography and a psychological journey into the past, Lifton takes the reader with her as she describes the loneliness and islolation of an adopted child cut off from the knowledge of her heritage. She explores the ambivalence and guilt that she feels toward her adoptive parents when she awakens as an adult to her need to ask: Who am I? With the mounting suspense of a detective novel, Twice Born explores not only the difficulty of searching for one's past when one's records are sealed, but also the complexity of trying to reunite with the birth mother from whom one has been separated by social taboos--and by time. More than a vivid and poinant memior, Lifton has given hs a story of mothering and mother-loss attachment and bonding, secrets and lies, and the human need for origins. Important reading for anyone touched by these issues and by the experience of adoption--which is everyone.

A love story, a mystery, and a memory guide, Past Forgetting shows a writer's determination to re-create her life.Jill Robinson, novelist and author of Bed/Time/Story, wakes from a coma to discover she's lost her memory and just about any sense of who she was.And is. She likes the look of the man standing next to her bed, but doesn't recognize that he's her husband, Stuart. What matters is that she feels safe around him. As she searches the house for her children, she is reminded that her son and daughter are both grown with families of their own--how well did she ever know them? Can You make up for a past you don't really remember? It is Stuart who begins to fill in the details for Jill, including the fact that she's a well-known writer, although when she meets with her doctors, they say she may never write again. Against all odds, Jill Robinson retrieved her unique writing voice, and in this engaging memoir shows how she does it. She takes us with her on her exploration of'tlie connections between memory and creativity, celebrity and anonymity, and loss and discovery. From her first tentative steps outside her house on Wimpole Street to London's sleek West End. From a trip to Oxford to discuss memory with a professor to her amazing voyage to Los Angeles on an assignment for Vanity fair which takes her back to the sixties world of Hockney, Polanski, and Hopper, Jill forges new paths to memory. In Past Forgetting, Jill Robinson rediscovers friendships she doesn't know she had: Robert Redford tells her stories about her childhood; at John Lahr's London literary teas, she's reintroduced to the writer's world, and Cary Grant offers her memories of her father, Dore Schary. And being with Barbra Streisand reminds her of a time she doesn't quite remember: when her father was running MGM. In her urgent voyage to redefine herself, Jill asks all the questions you've ever asked on the nature of memory. Is recollection shadowed by emotion? Is memory an act of reinvention? Do people reinvent rather than recollect? In Past Forgetting you'll find the answers and you'll meet a writer you won't want to forget.

Consists of two essays which refute the arguments used by Goldhagen in "Hitler's Willing Executioners." Finkelstein's "Daniel Jonah Goldhagen's 'Crazy' Thesis: A Critique of 'Hitler's Willing Executioners'" (pp. 1-100) contends that Goldhagen's book is neither novel nor a scholarly work. It is based mainly on misinterpreted secondary sources. Goldhagen exaggerates the significance of German "eliminationist antisemitism, " while he disparages the crucial factor of Nazi totalitarianism, with its propaganda and repressive system. He exaggerates the uniqueness of German antisemitism, racism, and wartime sadism. Goldhagen's book is a continuation of the pro-Zionist historical discourse which considers antisemitism to be eternal and the only cause of the Holocaust. Birn's "Revising the Holocaust" (pp. 101-148) is a slightly revised version of a review published in "The Historical Journal" 40 (1997). (States here that this essay was written in collaboration with Volker Riess.) Criticizes Goldhagen's discursive technique, non-academic style, and biased use of sources. Goldhagen exaggerates the number of Germans involved in the Holocaust, as well as their "ordinariness, " and he ignores the participation of non-Germans in the Holocaust.

For three or four decades after the Second World War, musical thinking in Britain was dominated by psychology. Among the earliest of the musical Freudians was Hans Keller (1919-85), an émigré from Vienna. For his case studies Keller drew on composers, performers, listeners and critics; and for his general topics he turned to opera, film music, creative character, genius, aesthetics and the issues of everyday musical life. The writing is impressive for its novelty, its insights, and the communicative clarity of its prose. The book includes a large number of aphorisms, two stories and a one-act play on British anti-Semitism. Most of the writings appear here in print for the first time and are drawn from papers held in the Hans Keller Archive at the University Library in Cambridge.

A memoir of spiritualism and self-discovery from the acclaimed, award-winning author At fifty, Alix Kates Shulman, author of the celebrated feminist novel, Memoirs of an Ex-Prom Queen , left a city life dense with political activism, family and literary community, and went to live alone on an island off the coast of Maine. On a windswept beach, in a cabin with no plumbing, power, or telephone, she found that she was learning to live all over again. In this luminous, spirited book, she charts her subsequent path as she learned not simply the joys of meditative solitude, but to integrate her new awareness into a busy, committed, even hectic mainland life. “A ten-year voyage of discovery . . . Shulman's honesty and sense of inquiry carry us with her all the way--could even, if we were willing, change our lives.” — San Francisco Sunday Examiner & Chronicle

"Duncan Wheeler is a successful architect who savors the quotidian pleasures in life until a car accident leaves him severely paralyzed and haunted by the death of his young assistant. Now, Duncan isn't sure what there is left to live for, when every day has become a broken series of unsuccessful gestures. Duncan and his wife, Laura, find themselves in conflict as Duncan's will to live falters. Laura grows desperate to help him. An art conservator who has her own relationship to the repair of broken things, Laura brings home a highly trained helper monkey - a tufted capuchin named Ottoline - to assist Duncan with basic tasks. Duncan and Laura fall for this sweet, comical, Nutella-gobbling little creature, and Duncan's life appears to become more tolerable, fuller, and funnier. Yet the question persists: Is it enough?"--Publisher description.

Sigmund Freud and Josef Breuer on hysteria, J.A. Symonds and Havelock Ellis on sexuality, a novel by Ford Madox Ford and Joseph Conrad, The Waste Land of T.S. Eliot (and Ezra Pound), even the Lyrical Ballads of Wordsworth and Coleridge: men making books together. Wayne Koestenbaum's startling interpretation of literary collaboration focuses on homosexual desire: men write together, he argues, in order either to express or to evade homosexual feelings. Their writing becomes a textual intercourse, the book at once a female body they can share and the child of their partnership. These man-made texts steal a generative power that women's bodies seem to represent. Seen as the site of a struggle between homosexual and homophobic energies, the texts Koestenbaum explores - works of psychoanalysis, sexology, fiction, and poetry - emerge as more complex, more revealing. They crystallize and refract the anxiety of male sexuality at the end of the last century, and open up a deeper understanding of connections today between the erotic and the literary. Drawing upon the work of feminist critics, Koestenbaum connects male collaboration and the exchange of women within patriarchy: he peers into both medical texts and imaginative literature, disturbing our ready acceptance of the co-authored work. This strong and unsettling book transforms our understanding of the creative process, providing a new sense of what both collaborative and solitary artistry mean.

Chernin takes us inside the mind of the psychoanalyst and her patients as few other books have done. In an almost novelistic fashion, she recalls her own analysis with three very different analysts (1967-71, 1972-83, and 1984-92) and how she grew as an individual through her work with them. It is a rare act of self-disclosure that is both moving and revelatory. A moving, provocative, and eminently readable book that raises crucial questions for those concerned with psychoanalysis and self-knowledge. A compelling recounting of the rewards and shortcomings of psychoanalysis . . . rich with discovery.

This book presents an intriguing and novel Freudian overview of all Daniel Defoe's major works by confronting various psychoanalytic hypotheses regarding Defoe. It is an original, well-documented, and compelling cross-disciplinary approach to identity issues and creative genius of Defoe.