The phenomenon of voluntary self-starvation—whether by political hunger strikers or lone anorexics—is a puzzle of engrossing power, suggesting a message more resonant and radical than any uttered aloud. In this fascinating phenomenology, Maud Ellmann teases out this message, its genesis, expression, and significance. How, she asks, has the act of eating become the metaphor for compliance, starvation the language of protest? How does the rejection of food become the rejection of intolerable social constraints—or of actual imprisonment? What is achieved at the culmination of such a protest—at the moment of death? Ellmann brilliantly unravels the answers; they lie, she shows, in the inverse relationship between bodily hunger and verbal expression, especially the written word.

Ellmann explores Yeats's idea of hunger as the food of poetry, Dickinson's belief that by abjuring food one could subsist as a god, and the dramatic messages of our century of starvers from Mahatma Ghandi to Jane Fonda. Central to her discussion is a striking comparison between the Irish Hunger Strike of 1981 and the plot of Richardson's Clarissa, in which a young woman starves to death in penance for—or, perhaps, revenge against—her rape. Both cases exhibit an extreme abundance of written words in the face of diminishing flesh.

The Hunger Artists plumbs this vampirical feeding of words on flesh, revealing strange and undeniable affinities between the labor of starvation and the birth of letters, diaries, poems, books. Ellmann works in the spirit of Kafka, who, emaciating his prose, slimmed the weighty nineteenth-century novel into compelling short tales; her prose is crisp, her message clear. She takes the bodily metaphors to their literal conclusion, to the death beds of Clarissa Harlowe and Bobby Sands, and thereby allows those bodies and those metaphors to speak to us anew.

Salvador Minuchin is widely recognized as one of the preeminent family therapists in the world. He has been described, in the American Journal of Psychotherapy, as “a most original innovator, a superb clinician, and an outstanding teacher.” Now, in this pioneering work, he and his co-authors apply the effectiveness of family therapy techniques to an illness that has long resisted treatment—anorexia nervosa.

The purpose of their book is threefold: to develop a new theory of psychosomatic disease, to confirm it with scientific data, and to show it unfolding in actual therapeutic situations with anorectic patients. Drawing upon their own clinical experience and illustrating their views with case studies, they advance a new approach that places the locus of the illness not in the individual but in the family. Their method, which has been highly successful, requires the active involvement of the therapist as an agent of change within the family, stimulating crises that are severe enough to shake up the system and allow it to reform in new and healthier patterns.

This book has revolutionary implications, not just for anorectic patients but for those suffering from all other psychosomatic disease. Whereas such illnesses to date have often eluded treatment, the approach through family therapy holds out the promise of future successes.