In a fusion of fact and fiction, nineteenth-century women institutionalized as hysterics reveal what history ignored “City of Incurable Women is a brilliant exploration of the type of female bodily and psychic pain once commonly diagnosed as hysteria—and the curiously hysterical response to it commonly exhibited by medical men. It is a novel of powerful originality, riveting historical interest, and haunting lyrical beauty.” —Sigrid Nunez, author of The Friend and What Are You Going Through “Where are the hysterics, those magnificent women of former times?” wrote Jacques Lacan. Long history’s ghosts, marginalized and dispossessed due to their gender and class, they are reimagined by Maud Casey as complex, flesh-and-blood people with stories to tell. These linked, evocative prose portraits, accompanied by period photographs and medical documents both authentic and invented, poignantly restore the humanity to the nineteenth-century female psychiatric patients confined in Paris’s Salpêtrière hospital and reduced to specimens for study by the celebrated neurologist Jean-Martin Charcot and his male colleagues.

City of Incurable Women draws its inspiration from the Iconographie photographique de la Salpêtrière, the medical reference books that accompanied 19th century neurologist Jean-Martin Charcot's case histories of the female patients he diagnosed as hysterics. City of Incurable Women is a poetic investigation of the physiological belief, held by Charcot, that illness is written on the surface of the body, of the capacity of photography to objectively reveal those signs of illness, and of the relationship between image (in the form of Charcot's photographs) and narrative (in the form of his case histories). It is also an attempt to imaginatively chart the lives and experiences of Charcot's patients beyond the purely medical identity he assigned them.

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.

This “delightful” Nebula Award–winning novella about a world without lies has “a sharp, unmerciful edge that would have pleased old Jonathan Swift” (Minneapolis Star-Tribune). Truth reigns supreme in the city-state of Veritas. Not even politicians lie, and weirdly frank notices abound—such as warning: this elevator maintained by people who hate their jobs: ride at your own risk. In this dystopia of mandatory candor, every preadolescent citizen is ruthlessly conditioned, through a Skinnerian ordeal called a “brainburn,” to speak truthfully under all circumstances. Jack Sperry wouldn’t dream of questioning the norms of Veritas; he’s happy with his life and his respectable job as a “deconstructionist,” destroying “mendacious” works of art—relics from a less honest era. But when his adored son, Toby, falls gravely ill, the truth becomes Jack’s greatest enemy. Somehow our hero must overcome his brainburn and attempt to heal his child with beautiful lies. Alternately hilarious and moving, City of Truth thoughtfully explores the pitfalls inherent in any attempt to engineer a perfect society.

From Revlon spokesmodel to film actress to one of People magazine's "50 Most Beautiful People," Karen Duffy was living the life most of us only dream of. Then her whirlwind life of celebrity parties came to an abrupt, grinding halt when she was stricken with a serious illness in one of its rarest forms: sarcoidosis of the central nervous system. Duffy soon realized that the only way for her to survive was not to take the disease too seriously. Instead of hiding from life, she chose to run toward it. She learned to embrace the chaos of a life-threatening disease with a wit and humor that helped her to find the love of her life at a time when things seemed darkest. Model Patient is a gripping, inspiring, and hilarious memoir that recounts the singular triumphs and tragedies of coping with a chronic, life-threatening disease.

Since the 1980s, when the War on Drugs kicked into high gear and prison populations soared, the increase in women's rate of incarceration has steadily outpaced that of men. InBreaking Women, Jill A. McCorkel draws upon four years of on-the-ground research in a major US women's prison to uncover why tougher drug policies have so greatly affected those incarcerated there, and how the very nature of punishment in women's detention centers has been deeply altered as a result.Through compelling interviews with prisoners and state personnel, McCorkel reveals that popular so-called “habilitation” drug treatment programs force women to accept a view of themselves as inherently damaged, aberrant addicts in order to secure an earlier release. These programs work to enforce stereotypes of deviancy that ultimately humiliate and degrade the women. The prisoners are left feeling lost and alienated in the end, and many never truly address their addiction as the programs' organizers may have hoped. A fascinating and yet sobering study, Breaking Women foregrounds the gendered and racialized assumptions behind tough-on-crime policies while offering a vivid account of how the contemporary penal system impacts individual lives.Jill A. McCorkel is Associate Professor of Sociology at Villanova University.

A fresh and provocative debut novel about a reclusive young woman saving up for weight loss surgery when she gets drawn into a shadowy feminist guerilla group called "Jennifer"--equal parts Bridget Jones's Diary and Fight Club