In this beautifully written, eloquent piece, David Malouf explores the connections between writing and the imagination and offers wonderful insights into his own experiences of the writer's life.

Leonard Wolf, a retired professor now in his early eighties, is the kind of person who likes to use a medieval astrolabe, dress in Basque shepherd's clothing, and convince otherwise sensible people to quit their jobs and follow their passions. Leonard believes that inside everyone is an artist, and that happiness in life depends on valuing and acting upon one's creative impulse. In The Treehouse, her most personal book yet, Naomi Wolf outlines her father's lessons in creating lasting success and happiness, and offers inspiration for the artist in all of us. Drawn from Leonard's lecture notes, the chapters of The Treehouse remind us to "Be Still and Listen," "Use Your Imagination," and "Do Nothing Without Passion," and that "Your Only Wage Will Be Joy" and "Mistakes Are Part of the Draft." This is a journey of self-discovery in which the creative endeavor is paramount. The Treehouse is a stirring personal history, a meditation on fathers and daughters, an argument for honoring the creative impulse, and a unique instruction in the art of personal happiness.

Writing to Awaken is an inspirational investigation of the self through expressive writing, guiding readers along the path of awakening through radical truth-telling and self-inquiry. With targeted and revelatory questions, readers are prompted to explore their personal narratives--to write openly and honestly about their deepest wounds, greatest challenges, hidden gifts, yearnings, and opportunities for growth--in order to discover a deeply authentic understanding of themselves and move toward a more liberated, truthful life.--

If you like the fiction of Henry James, the psychology of his brother William, and have a taste for Gothic mysteries you will enjoy The Dark Sister . The novel is a curious mixture of the Victorian repressiveness about sex, intricate stories within stories, and Jewish humor. With a new afterword

In his new book, Michael Billig uses psychology's past to argue that nowadays, when we write about the mind, we should use more examples and less theory. He provides a series of historical studies, analysing how key psychological writers used examples. Billig offers new insights about famous analysts of the mind, such as Locke, James, Freud, Tajfel and Lewin. He also champions unfairly forgotten figures, like the Earl of Shaftesbury and the eccentric Abraham Tucker. There is a cautionary chapter on Lacan, warning what can happen when examples are ignored. Marie Jahoda is praised as the ultimate example: a psychologist from the twentieth century with a social and rhetorical imagination fit for the twenty-first. More Examples, Less Theory is an easy-to-read book that will inform and entertain academics and their students. It will particularly appeal to those who enjoy the details of examples rather than the simplifications of big theory

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.