Answers the question for professionals and patients alike: who is the person playing with your mind? Or is it your soul?



A probing, nuanced look at the culture of psychiatry, with particular emphasis on the dichotomy between the drug cure and the talking cure.

Anthropologist Luhrmann (Persuasions of the Witch’s Craft, 1989) spent some time exploring an aspect of psychological anthropology that required her to examine various cultures with the psychoanalytic theories of Freud in mind. As a result, she found herself drawn to the world of psychiatrists, psychoanalysts, and their patients. What she found after years of observation and immersion (she served briefly as a psychotherapist herself) were two ways of looking at mental illness. One approaches mental disorders as disturbances of the brain, biological anomalies, treatable with psychopharmaceuticals—Prozac, lithium, and the like. The other focuses on what Luhrmann calls disturbances of the mind, distortions of the personality that respond to the many, varying forms of guided exploration of the conscious and unconscious categorized as psychodynamic therapy. Psychiatrists are usually trained in both, but they are often forced to choose one approach or the other, committing themselves as brain doctors or mind doctors. Recently the two camps began to collaborate, agreeing in essence that a combination of medication and psychodynamics is most effective, but managed care put a severe cramp in that prognosis, forcing many hospitals and doctors into the drug McCure, eliminating or curtailing the now 45-minute hour. In chapters that include empathetic exploration of the stresses of medical training, careful examinations of the difficulties of diagnosis, the split between the scientist and the psychoanalyst, and the crisis of managed care, Luhrmann lays out clearly, with anecdote and case history, the ethnography that shapes a psychotherapist.

Answers the question for professionals and patients alike: who is the person playing with your mind? Or is it your soul?

Pub Date: April 10, 2000

ISBN: 0-679-42191-2

Page Count: 400

Publisher: Knopf

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: March 15, 2000

Did you like this book?

No Comments Yet

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

Did you like this book?



Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

Did you like this book?