Afric McGlinchey is an Irish-born, multi-award-winning poet based in West Cork. Raised in several countries in Africa, she has a close affinity with that continent. Afric is a post-graduate of English Literature and film (University of Cape Town), and studied journalism at Rhodes University. Previous collections include ""The Lucky Star of Hidden Things"" and ""Ghost of the Fisher Cat"" (Salmon Poetry). Her d?but was further translated into Italian and published by L?Arcolaio. A consulting editor with The Inkwell Group and a creative writing facilitator, she also reviews for a number of journals. According to Vona Groarke, she ""...moves really beautifully between strangeness and familiarity. What's also particularly striking is the tone and register of the language and how the flow carries you along with it.""

From the frontlines of the fight for dignity and appropriate treatment for those struggling with mental health challenges, John Deadman, Sam Sussman, and David Streiner offer a social history of mental illness in Canada and the world that is rich in research, personal experience, scientific knowledge, and challenging truths. Reaching back to ancient times, the authors trace the story of mental health treatment and connect past events to the eventual policy of deinstitutionalization in Canada. As eyewitnesses to the painful fallout of deinstitutionalization, the authors are well-positioned to describe the results of this policy, particularly for the severely mentally ill: incarceration, homelessness, and helplessness. The shocking visibility of these challenges has led to calls for action, but major social institutions, such as government and religious organizations, have been unable to provide lasting solutions. Invisible Insanity: A Social History of Mental Illness in Canada and the World will appeal to mental health professionals, those who suffer from mental illness, family and friends of those who suffer, and members of society as a whole. It’s an issue that touches all of us in some way, and the authors will inspire readers to advocate for comprehensive care that meets the needs of patients and treats them with the dignity and professionalism they deserve.

Examines the records on insanity in England, Ireland, Canada, and the United States over a 250-year period, concluding, through quantitative and qualitative evidence, that insanity is an unrecognized, modern-day plague.

Dillon J. Carroll’s Invisible Wounds examines the effects of military service, particularly combat, on the psyches and emotional well-being of Civil War soldiers—Black and white, North and South. Soldiers faced harsh military discipline, arduous marches, poor rations, debilitating diseases, and the terror of battle, all of which took a severe psychological toll. While mental collapses sometimes occurred during the war, the emotional damage soldiers incurred more often became apparent in the postwar years, when it manifested itself in disturbing and self-destructive behavior. Carroll explores the dynamic between the families of mentally ill veterans and the superintendents of insane asylums, as well as between those superintendents and doctors in the nascent field of neurology, who increasingly believed the central nervous system or cultural and social factors caused mental illness. Invisible Wounds is a sweeping reevaluation of the mental damage inflicted by the nation’s most tragic conflict.

You could say that my railroad, the Madham Line, is almost the most important thing in my life. Next to Andy Morrow, my best friend. Lots of people think Doug Hanson is a freak -- he gets beat up after school, and the girl of his dreams calls him a worm. Doug's only refuge is creating an elaborate bridge for the model railroad in his basement and hanging out with his best friend, Andy Morrow, a popular football star who could date any girl in school. Doug and Andy talk about everything -- except what happened at the Tuttle place a few years back. It does not matter to Andy that we live in completely different realities. I'm Andy's best friend. It does not matter to Andy that we hardly ever actually do anything together. As Doug retreats deeper and deeper into his own reality, long-buried secrets threaten to destroy both Doug and Andy -- and everything else in Doug's fragile world.

Severe mental illness afflicts many men and women throughout their lives, often without warning, and almost always with devastating results. This book takes a look at psychosis, and contends that although the delusions and hallucinations of the psychotic person are misguided and confused, they are understandable when viewed in the context of a person's life. Using real life examples, Capps covers the prevalence of psychotic illness; the long-range effects of deinstitutionalization on mentally ill persons, their families, and their communities; family members' responses to their mentally ill relative; rehabilitation and prevention approaches and methods; the nature of delusions and hallucinations; the delusional belief that one is someone else; and the realization of mental stability.

Twisted bodies, deformed faces, aberrant behavior, and abnormal desires characterized the hideous creatures of classic Hollywood horror, which thrilled audiences with their sheer grotesqueness. Most critics have interpreted these traits as symptoms of sexual repression or as metaphors for other kinds of marginalized identities, yet Angela M. Smith conducts a richer investigation into the period's social and cultural preoccupations. She finds instead a fascination with eugenics and physical and cognitive debility in the narrative and spectacle of classic 1930s horror, heightened by the viewer's desire for visions of vulnerability and transformation. Reading such films as Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), Freaks (1932), and Mad Love (1935) against early-twentieth-century disability discourse and propaganda on racial and biological purity, Smith showcases classic horror's dependence on the narratives of eugenics and physiognomics. She also notes the genre's conflicted and often contradictory visualizations. Smith ultimately locates an indictment of biological determinism in filmmakers' visceral treatments, which take the impossibility of racial improvement and bodily perfection to sensationalistic heights. Playing up the artifice and conventions of disabled monsters, filmmakers exploited the fears and yearnings of their audience, accentuating both the perversity of the medical and scientific gaze and the debilitating experience of watching horror. Classic horror films therefore encourage empathy with the disabled monster, offering captive viewers an unsettling encounter with their own impairment. Smith's work profoundly advances cinema and disability studies, in addition to general histories concerning the construction of social and political attitudes toward the Other.