To penetrate the opaque, to lift the weight and let the self escape its frozen image—this is the essence of psychotherapy, a process described with extraordinary grace and warmth in this book. In remarkably candid portraits of patients at odds with themselves, Leston Havens takes us through the wonders and rigors of psychological healing and shows us what it really means, in immediate, human terms, to come to life.

We are all captives of the images we carry with us—and those we inspire—and therapy seeks to expose the relation of these images to a deeper psychological life, to free the captive from labels and crippling assumptions. Havens views this process through the multiple lenses of literature, art, and psychiatry. In rich clinical portraits, short on jargon and rigid techniques and long on empathy and wisdom, we encounter ordinary people struggling with the trials of their own existence: marriage and divorce, sexual identity and fulfillment, illness and death. We meet a woman imprisoned by eager responses to her beauty and helpfulness, a proud lawyer in thrall to conventional expectations, a dying man becoming more and more alive as he approaches death.

Through these very personal stories, Havens explores the meaning of psychological health—how it can be recognized through the filter of images and ideas, protected from their distorting power, and encouraged to flourish. The result is a revealing and deeply moving explication of the process of self-discovery as it emerges from the life story that therapy can tell.

Everywhere we hear talk of decline, of a world that was better once, maybe fifty years ago, maybe centuries ago, but certainly before modernity drew us along its dubious path. While some lament the slide of Western culture into relativism and nihilism and others celebrate the trend as a liberating sort of progress, Charles Taylor calls on us to face the moral and political crises of our time, and to make the most of modernity’s challenges.

“The great merit of Taylor’s brief, non-technical, powerful book…is the vigor with which he restates the point which Hegel (and later Dewey) urged against Rousseau and Kant: that we are only individuals in so far as we are social…Being authentic, being faithful to ourselves, is being faithful to something which was produced in collaboration with a lot of other people…The core of Taylor’s argument is a vigorous and entirely successful criticism of two intertwined bad ideas: that you are wonderful just because you are you, and that ‘respect for difference’ requires you to respect every human being, and every human culture—no matter how vicious or stupid.”
—Richard Rorty, London Review of Books

“Here, at last, is a book about what happiness really means, and why it often eludes us in our stressed-out, always-on lives.”
—Arianna Huffington, Founder and CEO, Thrive

A young philosopher and Guinness World Record holder in pull-ups argues that the key to happiness is not goal-driven striving but forging a life that integrates self-possession, friendship, and engagement with nature.

What is the meaning of the good life? In this strikingly original book, Adam Adatto Sandel draws on ancient and modern thinkers and on two seemingly disparate pursuits of his own, philosophy and fitness, to offer a surprising answer to this age-old human question.

Sandel argues that finding fulfillment is not about attaining happiness, conceived as a state of mind, or even about accomplishing one’s greatest goals. Instead, true happiness comes from immersing oneself in activity that is intrinsically rewarding. The source of meaning, he suggests, derives from the integrity or “wholeness” of self that we forge throughout the journey of life.

At the heart of Sandel’s account of life as a journey are three virtues that get displaced and distorted by our goal-oriented striving: self-possession, friendship, and engagement with nature. Sandel offers illuminating and counterintuitive accounts of these virtues, revealing how they are essential to a happiness that lasts.

To illustrate the struggle of living up to these virtues, Sandel looks to literature, film, and television, and also to his own commitments and adventures. A focal point of his personal narrative is a passion that, at first glance, is as narrow a goal-oriented pursuit as one can imagine: training to set the Guinness World Record for Most Pull-Ups in One Minute. Drawing on his own experiences, Sandel makes philosophy accessible for readers who, in their own infinitely various ways, struggle with the tension between goal-oriented striving and the embrace of life as a journey.

“Utterly captivating and resonant.” —Chicago Review of Books
“Gorgeously told.” —Philadelphia Inquirer
“Resonant. . . . Engagingly delivered, candid reflections on heritage and identity.” —Kirkus Reviews

The In-Betweens tells the story of a biracial boy becoming a man, all the while trying to find himself, trying to come to terms with his white family, and trying to find his place in American society. A rich narrative in the tradition of Justin Torres’s We the Animals and Bryan Washington’s Memorial, Davon Loeb’s memoir is relevant to the country’s current climate and is part of the necessary rewrite of the nation’s narrative and identity.

The son of a Black mother with deep family roots in Alabama and a white Jewish man from Long Island, Loeb grows up in a Black family in the Pine Barrens of New Jersey as one of the few nonwhite children in their suburban neighborhood. Despite his many and ongoing efforts to fit in, Loeb acutely feels his difference—he is singled out in class during Black History Month; his hair doesn’t conform to the latest fad; coaches and peers assume he is a talented athlete and dancer; and on the field trip to the Holocaust Museum, he is the Black Jew. But all is not struggle. In lyrical vignettes, Loeb vibrantly depicts the freedom, joys, and wonder of childhood; the awkwardness of teen years, first jobs, first passions. Loeb tells an individual story universally, and readers, regardless of subjectivity and relation, will see themselves throughout The In-Betweens.

For author Gish Jen, the daughter of Chinese immigrant parents, books were once an Outsiders’ Guide to the Universe. But they were something more, too. Through her eclectic childhood reading, Jen stumbled onto a cultural phenomenon that would fuel her writing for decades to come: the profound difference in self-narration that underlies the gap often perceived between East and West.

Drawing on a rich array of sources, from paintings to behavioral studies to her father’s striking account of his childhood in China, this accessible book not only illuminates Jen’s own development and celebrated work but also explores the aesthetic and psychic roots of the independent and interdependent self—each mode of selfhood yielding a distinct way of observing, remembering, and narrating the world. The novel, Jen writes, is fundamentally a Western form that values originality, authenticity, and the truth of individual experience. By contrast, Eastern narrative emphasizes morality, cultural continuity, the everyday, the recurrent. In its progress from a moving evocation of one writer’s life to a convincing delineation of the forces that have shaped our experience for millennia, Tiger Writing radically shifts the way we understand ourselves and our art-making.