Bücher veröffentlicht von Other Press LLC

In a series of poignant vignettes, a preeminent historian makes a compelling case for Machiavelli as an unjustly maligned figure with valuable political insights that resonate as strongly today as they did in his time. Whenever a tempestuous period in history begins, Machiavelli is summoned, because he is known as one for philosophizing in dark times. In fact, since his death in 1527, we have never ceased to read him to pull ourselves out of torpors. But what do we really know about this man apart from the term invented by his detractors to refer to that political evil, Machiavellianism?It was Machiavelli's luck to be disappointed by every statesman he encountered throughout his life-that was why he had to write The Prince. If the book endeavors to dissociate political action from common morality, the question still remains today, not why, but for whom Machiavelli wrote. For princes, or for those who want to resist them? Is the art of governing to take power or to keep it? And what is "the people?" Can they govern themselves? Beyond cynical advice for the powerful, Machiavelli meditates profoundly on the idea of popular sovereignty, because the people know best who oppresses them.With verve and a delightful erudition, Patrick Boucheron sheds light on the life and works of this unclassifiable visionary, illustrating how we can continue to use him as a guide in times of crisis.

The first book in the Art of Hearing Heartbeats series, this is a passionate love story, a haunting fable, and an enchanting mystery set in Burma. When a successful New York lawyer suddenly disappears without a trace, neither his wife nor his daughter Julia has any idea where he might be…until they find a love letter he wrote many years ago, to a Burmese woman they have never heard of. Intent on solving the mystery and coming to terms with her father's past, Julia decides to travel to the village where the woman lived. There she uncovers a tale of unimaginable hardship, resilience, and passion that will reaffirm the reader's belief in the power of love to move mountains.

PEN Translation Prize LonglistBustle: Best Book of the Month Library Journal: Best Debut Novel of the Season Lambda Literary: Most Anticipated Book of the Month Drawn from the author's experiences growing up in a Paris banlieue, a powerful, lyric debut that explores the diverse, often conflicting facets of her identity-French, Algerian, Muslim, lesbian.The youngest daughter of Algerian immigrants, Fatima Daas is raised in a home where love and sexuality are considered taboo, and signs of affection avoided. Living in the majority-Muslim suburb of Clichy-sous-Bois, she often spends more than three hours a day on public transportation to and from the city, where she feels like a tourist observing Parisian manners. She goes from unstable student to maladjusted adult, doing four years of therapy-her longest relationship. But as she gains distance from her family and comes into her own, she grapples more directly with her attraction to women and how it fits with her religion, which she continues to practice. When Nina comes into her life, she doesn't know exactly what she needs but feels that something crucial has been missing. This extraordinary first novel, anchored and buoyed by the refrain "My name is Fatima," is a vital portrait of a young woman finding herself in a modern world full of contradictions. Daas's journey to living her sexuality in spite of expectations about who she should be offers a powerful perspective on the queer experience.

"A fascinating mixture of traditional psychoanalytic thinking with clinical strategies that even today would be considered creative and controversial, The Fifty-Minute Hour has never failed to capture the imagination. . . . No student's education in psychotherapy is complete without reading this book. Decades after its original publication, it still stands as a pioneering landmark in the history of psychotherapy."-John Suler

Robert Frost and Edward Thomas met in a bookshop in London in 1913. During the next four years, the two writers—Frost, an unknown poet who had sold his farm in New Hampshire in order to take his family to England for one last gamble on poetry and Thomas, a sad literary journalist—formed the most important friendship between poets since that of Wordsworth and Coleridge. Their friendship only ended with Thomas'' death in Arras, France, a casualty of the First World War. The story of Edward Thomas'' turn to poetry, in fact, has been dominated by the account of Robert Frost''s injunction: to break his existing prose into lines, bringing his musical cadence and his direct speaking voice into conversation with formal prosody. Thomas himself had already championed Frost''s own early work: These poems are revolutionary because they lack the exaggeration of rhetoric.... Their language is free from the poetical words and forms that are the chief material of the secondary poets. The metre avoids not only old fashioned pomp and sweetness, but the later fashion also of discord and fuss. In fact the medium is common speech.... Mr. Frost has, in fact, gone back, as Whitman and as Wordsworth went back, through the paraphernalia of poetry into poetry once again.This book presents for the first time the full record, arranged chronologically, of what the poets wrote to, for, and about one another—their letters, poems, and Thomas'' review of Frost''s first two books. They reveal a warmth and charm that give us the key to the relationship between Frost and Thomas.

A new novel of artful understatement about mortality, estrangement, and the absurdity of life from the acclaimed author of Unformed Landscape and In Strange GardensOn a day like any other, Andreas changes his life. When a routine doctor’s visit leads to an unexpected prognosis, a great yearning takes hold of him—but who can tell if it is homesickness or wanderlust? Andreas leaves everything behind, sells his Paris apartment; cuts off all social ties; quits his teaching job; and waves goodbye to his days spent idly sitting in cafes—to look for a woman he once loved, half a lifetime ago. The monotony of days has been keeping him in check; now he hopes for a miracle and for a new beginning. Andreas’ travels lead him back to the province of his youth, back to his hometown in Switzerland where he returns to familiar streets, where his brother still lives in their childhood home, and where Fabienne, a woman he was obsessed with in his youth, visits the same lake they once swam in together. Andreas, still consumed with longing for his lost love and blinded by the uncertainty of his future, is tormented by the question of what might have been if things had happened differently. Peter Stamm has been praised as a “stylistic ascetic” and his prose as “distinguished by lapidary expression, telegraphic terseness, and finely tuned sensitivity” (Bookforum). In On a Day Like This, Stamm’s unobtrusive observational style allows us to journey with our antihero through his crises of banality, of living in his empty world, and the realization that life is finite—that one must live it, as long as that is possible.Praise for Unformed Landscape:“Sensitive and unnerving. . . . An uncommonly intimate work, one that will remind the reader of his or her own lived experience with a greater intensity than many of the books that are published right here at home.” —The New Republic Online“If Albert Camus had lived in an age when people in remote Norwegian fishing villages had e-mail, he might have written a novel like this.”—The New Yorker“Unformed Landscape has a refreshing purity, a lack of delusion, a lack of hype.”—Los Angeles Times

“Don’t thank me for your survival, thank your valiant Stern and Pemper, who stared death in the face constantly.”—Oskar Schindler in a speech to his released Jewish workers in May 1945.Steven Spielberg’s Oscar-winning film Schindler’s List popularized the true story of a German businessman who manipulated his Nazi connections and spent his personal fortune to save some 1,200 Jewish prisoners from certain death during the Holocaust. But few know that those lists were made possible by a secret strategy designed by a young Polish Jew at the Płaszow concentration camp. Mietek Pemper’s compelling and moving memoir tells the true story of how Schindler’s list really came to pass.Pemper was born in 1920 into a lively and cultivated Jewish family for whom everything changed in 1939 when the Germans invaded Poland. Evicted from their home, they were forced into the Krakow ghetto and, later, into the nearby camp of Płaszow where Pemper’s knowledge of the German language was put to use by the sadistic camp commandant Amon Goth. Forced to work as Goth’s personal stenographer from March 1943 to September 1944—an exceptional job for a Jewish prisoner—Pemper soon realized that he could use his position as the commandant’s private secretary to familiarize himself with the inner workings of the Nazi bureaucracy and exploit the system to his fellow detainees’ advantage. Once he gained access to classified documents, Pemper was able to pass on secret information for Schindler to compile his famous lists. After the war, Pemper was the key witness of the prosecution in the 1946 trial against Goth and several other SS officers. The Road to Rescue stands as a historically authentic testimony of one man’s unparalleled courage, wit, defiance, and bittersweet victory over the Nazi regime.

"The relational and the developmental point of view have never been brought together in an adequate way. This up-to-date scholarly, yet practical, integration opens a new vista within relational psychoanalysis and pioneers a fresh approach in the psychoanalytic treatment of children and adolescents. It is a work of great and lasting value to the field."—Peter FonagyChild therapists practicing today are faced with the challenge of developing a coherent theory and technique while drawing on a number of diverse traditions as disparate as psychoanalysis, behavior therapy, and family systems theory. This diversity presents child therapists with a rich background, but it also presents a formidable complexity to be integrated into their therapeutic work.This book develops such an integration, offering a complete overview of issues currently being addressed by clinicians and theoreticians, and exploring various relational models and their implications for treatment. The authors bring to light the critical issues of clinical practice with children and offer powerful new models for child psychotherapists.The problems and strategies for approaching the clinical relationship between child and therapist, as well as that between parent and therapist, are examined in depth. The authors also explore the clinical setting versus the role of the therapist in the extra-clinical context of a child’s life, the therapeutic aspects of play, and the unique behaviors of children manifested in the therapeutic environment.

A clear and readable how-to manual for results-oriented psychoanalysis.By now, the term "practical psychoanalysis" has become an oxymoron. The way psychoanalytic treatment is generally conducted is extremely impractical and doesn't serve the needs of the vast majority of potential patients, who want to achieve maximum relief from emotional distress as quickly as possible. This unfortunate state of affairs is ironic, considering that psychoanalysis became popular on the basis of its therapeutic efficacy.In this essential new book, Owen Renik describes how clinical psychoanalysis can focus on symptom relief and deliver results efficiently. With a humane, direct, and engaging voice, he takes up how to begin treatment, how to end it, and how to deal with the in-between. He offers chapters on the therapy of panic attacks and depersonalization, on how to get out of an impasse, on the relation between sexual desire and power in the analytic relationship, on patients who seem to want to sabotage their treatments, on flying blind as an analyst, and on a number of other intriguing, important practical topics. Renik's down-to-earth presentation and discussion of clinical anecdotes, combined with useful recommendations for both analyst and patient, amounts to a clear and readable how-to manual. The book is intended for all mental health caregivers, patients and potential patients, and for anyone who is curious about what makes for effective, helpful psychotherapy.

In the 1990s Svetlana Broz, granddaughter of former Yugoslav head of state Marshal Tito, volunteered her services as a physician in war-torn Bosnia. She discovered that her patients were not only in need of medical care, but that they urgently had a story to tell, a story suppressed by nationalist politicians and the mainstream media. What Broz heard compelled her to devote herself over the next several years to the collection of firsthand testimonies from the war. These testimonies show that ordinary people can and do resist the murderous ideology of genocide even under the most terrible historical circumstances. We are introduced to Mile Plakalovic, a magnificent humanist, who drove his taxi through the streets of Sarajevo, picking the wounded up off the sidewalk and delivering food and clothing to young and old, even when the bombing was at its worst. We meet Velimir Milosevic, poet, who traveled with an actor and entertained children as they hid in basements to avoid the bombing and gunfire, and we hear the stories of countless others who put themselves in grave danger to help others, regardless of ethnic background. Faced with a world in which unspeakable crimes not only went unpunished but were rewarded with glory, profit, and power, the Bosnians of all faiths who testify in this book were starkly confronted with the limits and possibilities of their own ethical choices. Here, in their own words they describe how people helped one another across ethnic lines and refused the myths promoted by the engineers of genocide. This book refutes the stereotype of inevitable natural enmities in the Balkans and reveals the responsibility of individual actions and political manipulations for the genocide; it is a searing portrait of the experience of war as well as a provocative study of the possibilities of resistance and solidarity. The testimonies reverberate far beyond the frontiers of the former Yugoslavia. This compelling book is essential reading for anyone who wants to understand the reality on the ground of the ethnic conflicts of the late twentieth and the twenty-first centuries.

In the course of nearly thirty years of work with patients in psychiatric hospitals and private practice, Francoise Davoine and Jean-Max Gaudilliere have uncovered the ways in which transference and countertransference are affected by the experience of social catastrophe. Handed down from one generation to the next, the unspoken horrors of war, betrayal, dissociation, and disaster in the families of patient and analyst alike are not only revived in the therapeutic relationship but, when understood, actually provide the keys to the healing process. The authors present vivid examples of clinical work with severely traumatized patients, reaching inward to their own intimate family histories as shaped by the Second World War and outward toward an exceptionally broad range of cultural references to literature, philosophy, political theory, and anthropology. Using examples from medieval carnivals and Japanese No theater, to Wittgenstein and Hannah Arendt, to Sioux rituals in North Dakota, they reveal the ways in which psychological damage is done--and undone. With a special focus on the relationship between psychoanalysis and the neurosciences, Davoine and Gaudilliere show how the patient-analyst relationship opens pathways of investigation into the nature of madness, whether on the scale of History--world wars, Vietnam--or on the scale of Story--the silencing of horror within an individual family.In order to show how the therapeutic approach to trauma was developed on the basis of war psychiatry, the authors ground their clinical theory in the work of Thomas Salmon, an American doctor from the time of the First World War. In their case studies, they illustrate how three of the four Salmon principles--proximity, immediacy, and expectancy--affect the handling of the transference-countertransference relationship. The fourth principle, simplicity, shapes the style in which the authors address their readers--that is, with the same clarity and directness with which they speak to their patients.

The Intervention of the Other deftly brings the thought of Emmanuel Levinas and Jacques Lacan into fruitful dialogue through a comparative analysis of these two seemingly disparate thinkers.Emmanuel Levinas, Lithuanian-born French phenomenologist of the nonphenomenon, and Jacques Lacan, controversial French psychoanalyst and (post)structuralist theorist of the Freudian Unconscious, lived and wrote in the same city, at the same time, among the same colleagues, often using the same language and the same sources, sometimes writing to the same audiencesóand yet they never wrote to or about one another. Following Sartre, Levinas thought that Freud had fundamentally misunderstood the nature of consciousness when he posited the Unconscious as a second, but hidden, consciousness. Despite this suspicion of psychoanalysis, however, Levinasí own work celebrated a certain something that could not be contained by thought. For his part, Lacan was suspicious of philosophical ethics. He subscribed to a Freudian critique of ethics as pathogenic. Nevertheless, he saw his own work as fundamentally about a kind of ethics, specifically an ethics concerned with how people live their lives in an already normative society.While the two never engaged with each otherís thought directly, Levinas and Lacan were interested in many of the same questions: What is the nature of the self? What is it to be a subject? Can the ethical be grounded in a post-foundationalist world?Through close textual analysis, David Ross Fryer shows how Levinas and Lacan offer two ways of positing the ethical subject in the post-humanist landscape of contemporary thought.

In this delightfully readable and clearly written volume, the world-renowned psychoanalyst Moustafa Safouan considers the works of Freud and Lacan. When Safouan met Lacan in 1949, he was all but ready to abandon the field due to the many contradictions and obscurities he found in Freud. Yet thanks to Lacan's early presentation of the father as real, imaginary, and symbolic, Safouan stayed on, working with Lacan until Lacan's death in 1981. One can track the evolution of Safouan's teaching through his participation in Lacan's published seminars and his early contributions. Safouan wrote this book in English, starting with a transcript from a series of lectures he delivered to the Lacanian School of Psychoanalysis in San Francisco, in March of 2001. Safouan clears up many of Lacan's own obscurities, although he is quick to point out that there are no contradictions in Lacan. Readers will find the cause of desire, both through the signifier and through the "normative" (rather than normal) development of the child. Safouan explains the three forms of lack, the root of subjectivity, the desire of the analyst, the Other as different from the other, the object cause of desire, transference, countertransference and lateral transference, and the analytic act in a narrative that brings these and other concepts together, in a "dictionary" that could never be divided by terms.

In early 2005, Richard Polsky decided to put his much-loved, hard-won Warhol Fright Wig, up for auction at Christie''s. The market for contemporary art was robust and he was hoping to turn a profit. His instinct seemed to be on target: his picture sold for $375,000. But if only Polsky had waited . . . Over the next two years, prices soared to unimaginable heights with multimillion-dollar deals that became the norm and not the exception. Buyers and sellers were baffled, art dealers were bypassed for auction houses, and benchmark prices proved that trees really do grow to the sky. Had the market lost all reason?In I Sold Andy Warhol (Too Soon), Polsky leads the way through this explosive, short-lived period when the "art world" became the "art market." He delves into the behind-the-scenes politics of auctions, the shift in power away from galleries, and the search for affordable art in a rich man''s playing field. Unlike most in the art world, Polsky is not afraid to tell it like it is as he negotiates deals for clients in New York, London, and San Francisco and seeks out a replacement for his lost Fright Wig in a market that has galloped beyond his means. A compelling backdoor tell-all about the strange and fickle world of art collecting, I Sold Andy Warhol (Too Soon) takes an unvarnished look at how the industry shifted from art appreciation to monetary appreciation.

Any man—or woman—who wants to hear nothing—or no more—about love should put this book down.Anna and Louise could be sisters, but they don’t know each other. They are both married with children, and for the most part, they are happy. On almost the same day, Anna, a psychiatrist, crosses paths with Yves, a writer, while Louise, a lawyer, meets Anna’s analyst, Thomas. Love at first sight is still possible for those into their forties and long-married. But when you have already mapped out a life path, a passionate affair can come at a high price. For our four characters, their lives are unexpectedly turned upside down by the deliciously inconvenient arrival of love. For Anna, meeting Yves has brought a flurry of excitement to her life and made her question her values, her reliable husband, and her responsibilities to her children. For Louise, a successful career woman in a stable and comfortable marriage, her routine is uprooted by the youthful passion she feels for Thomas. Thought-provoking, sophisticated, and, above all, amusing, Enough About Love captures the euphoria of desire through tender and unflinching portraits of husbands, wives, and lovers.

"One of the four best Hollywood novels ever written." -Elizabeth Frank, New York Times Book Review "Epstein is a master storyteller at the height of his powers." -Jonathan Kirsch, Los Angeles Times Book Review "Mr. Epstein effortlessly captures the magic of a Hollywood childhood . . . San Remo Drive is a haunting and deeply affecting book." -Michiko Kakutani, New York Times Leslie Epstein's bestselling new novel is composed of five interrelated episodes, in each of which a germ of childhood experience is elaborated by the mature imagination of one of this country's most distinguished writers of fiction. Richard Jacobi, the narrator of these reflections, invites us to revisit the crucial experiences of his youth: driving to Malibu to meet the man determined to marry his mother; on vacation in the Mohave, while his father, the famed Hollywood figure Norman Jacobi and Lotte, his mother, must deal with the terrible consequences of Norman's testimony before the House Committee on Un-American Activities; exploring how a night in a bar and brothel in Tijuana becomes linked to the spiritual growth of his brother, Bartie, who is surely destined to be one of the most memorable and endearing characters in modern literature; viewing a precarious initiation into sexuality that will mark forever the way an artist sees the world and does his work. This is, then, a novel written from memory, in the same sense that the Schubert sonatas that attract Lotte to her baby grand are played from memory-that is, by heart.

A classic of Holocaust literature from “one of the great masters of the short novel.”—The New YorkerIn the Vilna Ghetto during World War II, Nazi Commandant Schoger demands that all children be sent to the death camp. When Abraham Lipman pleads with him to spare their lives, Schoger reconsiders, and tells Lipman there will be a chess match between himself and Lipman’s only surviving son, Isaac, a chess prodigy. If Isaac wins, the children will live, but Isaac will die. If Isaac loses, the children will die, but Isaac will live. Only a draw will save the ghetto from this terrible predicament.The chess game begins: a nightmarish contest played over the course of several evenings, witnessed by an audience impotent to act, staking the lives of their children on a stalemate. This is a moving story of a father and a son who shame their cruel perpetrator with their dignity, spirit, and extraordinary courage. Stalemate speaks to the power of humor even under the direst circumstances. As a parable that gives voice to the unspeakable, Stalemate is an antidote to despair.“Gripping . . . a truly memorable work.”—Booklist