This volume constitutes the first solidly research-grounded guide for practitioners wending their way through the new maze of self-help approaches. The Handbook of Self-Help Therapies summarizes the current state of our knowledge about what works and what does not, disorder by disorder and modality by modality. Among the covered topics are: self-regulation theory; anxiety disorders; depression; childhood disorders; eating disorders; sexual dysfunctions; insomnia; problem drinking; smoking cessation; dieting and weight loss. Comprehensive in its scope, this systematic, objective assessment of self-help treatments will be invaluable for practitioners, researchers and students in counseling psychology, psychiatry and social work, health psychology, and behavioral medicine.
The first volume to address both self-help and support groups, and to provide a clear distinction between the two, Self-Help and Support Groups dispels misunderstandings and inaccurate assumptions about how they function, whom they attract and how they help participants achieve goals. Linda Farris Kurtz informs practitioners and students in the human services about the concepts, theories and research relevant to self-help and support groups. She provides practical advice and direction for working with these groups while analyzing self-help//support organizations on three different levels in terms of: the groups themselves; the group members; and the practitioners' interactions with the groups. In addition, this compr
"Brisk, ironic ... scalpel-sharp.... A funny, cohesive, and moving collection of stories." --The New York Times Book Review In these tales of loss and pleasure, lovers and family, a woman learns to conduct an affair, a child of divorce dances with her mother, and a woman with a terminal illness contemplates her exit. Filled with the sharp humor, emotional acuity, and joyful language Moore has become famous for, these nine glittering tales marked the introduction of an extravagantly gifted writer.
This 1859 guide coined the term self-help, promoting perseverance and ingenuity despite hardships and disappointments. Examples from the lives of prominent inventors and entrepreneurs illustrate the value of patience and optimism.
Based on a reading of more than three hundred self-help books, Sandra K. Dolby examines this remarkably popular genre to define "self-help" in a way that's compelling to academics and lay readers alike. Self-Help Books also offers an interpretation of why these books are so popular, arguing that they continue the well-established American penchant for self-education, articulate problems of daily life and supposed solutions for them, and present their content in an accessible rather than arcane form and style. Using methods associated with folklore studies, Dolby then examines how the genre makes use of stories, aphorisms, and a worldview that is at once traditional and contemporary. The overarching premise of the study is that self-help books, much like fairy tales, take traditional materials, especially stories and ideas, and recast them into extended essays that people happily read, think about, try to apply, and then set aside when a new embodiment of the genre comes along.
Why doesn't self-help help? Cultural critic Micki McGee puts forward this paradoxical question as she looks at a world where the market for self-improvement products--books, audiotapes, and extreme makeovers--is exploding, and there seems to be no end in sight. Rather than seeing narcissism at the root of the self-help craze, as others have contended, McGee shows a nation relying on self-help culture for advice on how to cope in an increasingly volatile and competitive work world. Self-Help, Inc. reveals how makeover culture traps Americans in endless cycles of self-invention and overwork as they struggle to stay ahead of a rapidly restructuring economic order. A lucid and fascinating treatment of the modern obsession with work and self-improvement, this lively book will strike a chord with its acute diagnosis of the self-help trap and its sharp suggestions for how we can address the alienating conditions of modern work and family life.
Alone in her native St Petersburg, Maria Glover sends an urgent summons to London and New York. Her son and daughter arrive too late to see her, but the end of their mother’s life marks the beginning of their own story: one of secrets, strangers, and the ultimate retelling of everything they thought they knew. ‘Docx knows that what we want most from a novel are stories into which we can sink our teeth and our hearts. His ability to evoke the atmosphere of a city is almost Dickensian’ Guardian ‘Full of insight: on the state of Russia, Britain and the US; and on the nature of music, addiction, love and sex. Funny and involving and the characters are often priceless’ Metro ‘I was amazed at the detail of Docx’s St Petersburg, with all its beauty and cruelty, similar to the style of Dostoevsky’ Financial Times ‘Unforgettable. Not since What a Carve Up! has there been such an absorbing indictment of the family’ Independent on Sunday