The original breath-taking psychological thriller behind Hitchcock’s legendary film—the story of a man tormented by his search for the truth, and ultimately destroyed by a terrible secret It could have happened to any of us, but it happened to a man named Flavieres. His days as a detective were over, and everyone knew he had his reasons. But when an old friend appeared out of nowhere with concerns about his withdrawn and mysterious wife, Flavieres didn't have the heart to refuse. Soon, he would be scouring the streets of Paris in search of an answer—in search of a girl who belonged to no one, not even to herself. Intrigue would be replaced by obsession, and dreams replaced by nightmares. This is the story of a desperate man. A man who ended up compromising his own morality beyond all measure, while World War II raged outside his front door. A man tormented—and destroyed—by a dark, terrible secret.

This book is about “vestibular” illnesses – those that arise in the inner ear and precipitate the sickening experiences of vertigo and imbalance, usually without warning. There are not many books on vertigo written for the general public, and the writer saw a need for one that offered not only detailed information concerning these diseases, but an exploration of the vertigo experience itself, and of the problems that can occur in searching for effective therapy and a sense of understanding. The book is unique in that more than fifty people were interviewed in order to provide a good look at a variety of real life experiences. Many of their stories are threaded through the text as examples. Included are chapters on the psychological effects of illness, challenges encountered in seeking help, conventional and unconventional treatments, anatomy and functioning of the ear, as well as a history of the development of a scientific understanding of vertigo. The book does not recommend any specific solutions, but rather seeks to provide some understanding of these illnesses and their ramifications, as well as options for coping with them. The sections of the book devoted to strictly medical information were reviewed by an experienced otolaryngologist. Comments by Madelon Baranoski, PhD, Associate Professor, Department of Psychiatry, Yale University: “This is an informative and entirely readable book on vertigo. The author weaves her own experiences, accounts from others who suffer from the disorder, and anatomy, physiology, and treatment information into a coherent discourse on the human experience of ‘the world spinning out of control.’ Personally, the book has helped me understand my mother’s bouts of benign positional vertigo. Reading it with me, Mom felt less isolated in her struggle with the unpredictable enveloping dizziness and I felt a new connection with her. We both felt less helpless. There is nothing like this book in the medical or popular press; I enthusiastically recommend it to family, friends, physicians and therapists of people with vertigo. It is an empathic, comprehensive, and well-written window into a very perplexing disorder.”

At once intimate and wide-ranging, and as enthralling, surprising, and vivid as the place itself, this is a uniquely eye-opening tour of one of the great metropolises of the world, and its largest Spanish-speaking city. Horizontal Vertigo: The title refers to the fear of ever-impending earthquakes that led Mexicans to build their capital city outward rather than upward. With the perspicacity of a keenly observant flaneur, Juan Villoro wanders through Mexico City seemingly without a plan, describing people, places, and things while brilliantly drawing connections among them. In so doing he reveals, in all its multitudinous glory, the vicissitudes and triumphs of the city ’s cultural, political, and social history: from indigenous antiquity to the Aztec period, from the Spanish conquest to Mexico City today—one of the world’s leading cultural and financial centers. In this deeply iconoclastic book, Villoro organizes his text around a recurring series of topics: “Living in the City,” “City Characters,” “Shocks,” “Crossings,” and “Ceremonies.” What he achieves, miraculously, is a stunning, intriguingly coherent meditation on Mexico City’s genius loci, its spirit of place.

Reading philosophy through the lens of Alfred Hitchcock’s Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. Fear of the void, terror of heights: everyone knows what acrophobia is, and many suffer from it. Before Freud, the so-called “sciences of the mind” reserved a place of honor for vertigo in the domain of mental pathologies. The fear of falling—which is also the fear of giving in to the temptation to let oneself fall—has long been understood as a destabilizing yet intoxicating element without which consciousness itself was inconceivable. Some went so far as to induce it in patients through frightening rotational therapies. In a less cruel but no less radical way, vertigo also staked its claim in philosophy. If Montaigne and Pascal could still consider it a perturbation of reason and a trick of the imagination which had to be subdued, subsequent thinkers stopped considering it an occasional imaginative instability to be overcome. It came, rather, to be seen as intrinsic to reason, such that identity manifests itself as tottering, kinetic, opaque and, indeed, vertiginous. Andrea Cavalletti’s stunning book sets this critique of stable consciousness beside one of Hitchcock’s most famous thrillers, a drama of identity and its abysses. Hitchcock’s brilliant combination of a dolly and a zoom to recreate the effect of falling describes that double movement of “pushing away and bringing closer” which is the habitual condition of the subject and of intersubjectivity. To reach myself, I must see myself from the bottom of the abyss, with the eyes of another. Only then does my “here” flee down there and, from there, attract me. From classical medicine and from the role of imagination in our biopolitical world to the very heart of philosophy, from Hollywood to Heidegger’s “being-toward-death,” Cavalletti brings out the vertiginous nature of identity.

'I was twelve years old the first time I walked on water . . .' So begins Mr Vertigo, the story of Walt, an irrepressible orphan from the Mid-West. Under the tutelage of the mesmerising Master Yehudi, Walt is taken back to the mysterious house on the plains to prepare not only for the ability to fly, but also for the stardom that will accompany it. At the same time a delighted race through 1920s Americana and a richly allusive parable, Mr Vertigo is a compelling, magical novel - a work of true originality by a writer at the height of his powers. 'A virtuoso piece of storytelling by a master of the modern American fable.' The Independent

Poetry. Winner of the 2020 Tenth Gate Prize for Poetry. "Carolyn Guinzio's A VERTIGO BOOK reads like a condensed novel in three parts. We have 'V' a woman alone at the end of a life, her 'light skeleton' nearly lifting 'right up off the earth.' V's loneliness is our loneliness, yet Guinzio describes her with such care, we find ourselves mesmerized, keeping intimate company with the details of her almost-not life: snow, deer, apple, mirror, lake. It 'hurts us to see,' but we want to see, to find out how it is there at the very edge of being. When we leave her, it's to draw even closer to Guinzio's impeccably observant eye. She enters the natural world with all the passionate attention of a lover, and we follow. In a final staccato section, we find Jenny Mentink, a settler somewhere in America's prairie. How is Jenny's story also V's? How might their lostness be America's lostness? 'What ground is this?' they ask, we ask, as we enter the long American story of un-belonging to this land that holds us only briefly."--Julie Carr

"A selection of cover, trading card, and gallery art from DC Comics' Vertigo imprint, Vertigo Visions showcases the work of seventy-five major artists whose illustrations bring the concepts and storylines of the Vertigo writers to life." "Collectively, the pieces in Vertigo Visions convey a truly astonishing range, in both subject matter and technique: images of surpassing loveliness alongside nightmarish visions of the macabre and grotesque; lighthearted takes on familiar characters next to phantasmagorical landscapes from unnamable worlds; impressionistic watercolors, classical oils, and complex collages; delicate line drawings, stencil art, and sophisticated computer-manipulated creations."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved