This ethnography continues the "thick description" of faith-based and science-based drug programs begun in Addiction Treatment. Using extensive interviews and his own participation in daily rounds of treatment, Hood provides a vivid comparison of resident experience at each type of institution. Redemption and Recovery tells the stories of two houses in the Bronx, NY that serve people with drug problems: "Redemption House" and "Recovery House." These stories include the direct accounts of residents' "druggin'" lives before treatment and their search for normalcy after recovery or redemption. Other chapters dissect the religion of science-based treatment and compare success rates, religious vs. secular. Addiction Treatment had detailed a similar process of personal conversion central to both treatments. This sequel uses the "contextualized demographics" of residents to uncover profound parallels between the two "unique" programs and debunk their shared ideology of abstinence.

This ethnography continues the "thick description" of faith-based and science-based drug programs begun in Addiction Treatment. Using extensive interviews and his own participation in daily rounds of treatment, Hood provides a vivid comparison of resident experience at each type of institution.

Redemption and Recovery tells the stories of two houses in the Bronx, NY that serve people with drug problems: "Redemption House" and "Recovery House." These stories include the direct accounts of residents' "druggin'" lives before treatment and their search for normalcy after recovery or redemption. Other chapters dissect the religion of science-based treatment and compare success rates, religious vs. secular.

Addiction Treatment had detailed a similar process of personal conversion central to both treatments. This sequel uses the "contextualized demographics" of residents to uncover profound parallels between the two "unique" programs and debunk their shared ideology of abstinence.

Addiction Treatment is an ethnography that compares two types of residential drug-free treatment programs--religious, faith-based programs and science-based, secular programs. Although these programs have originated from significantly different ideological bases, in examining the day-to-day operations of each, Daniel E. Hood concludes that they are far more alike than they are different.

Drug-free treatment today, whether in secular or religious form, is little more than a remnant of the temperance movement. It is a warning to stop using drugs. At its best, treatment provides practical advice and support for complete abstinence. At its worst, it demeans users for a form of behavior that is not well understood and threatens death if they do not stop. Hood argues that there is no universal agreement on what addiction is and that drug abuse is little more than a catch-all term of no specific meaning used to condemn behavior that is socially unacceptable.

Through extensive participatory observations, intimate life history interviews, and informal conversations with residents and staff, Hood shows how both programs use the same basic techniques of ideological persuasion (mutual witnessing), methods of social control (discourse deprivation), and the same proposed zero tolerance, abstinent lifestyle (Christian living vs. Right living) as they endeavor to transform clients from addicts to citizens or from sinners to disciples.

Dan Hood enjoys writing, cooking, photography and gardening. He practices Tai Chi and Qigong almost every day and edits a newsletter for his Tai Chi school. Dan spent four years in the Air Force and worked as a civil service employee for 36 years. He and his wife, Marjory Kaplan live outside of Boston, Mass.

Satirically utilized by Strauss II to highlight the deceptive aristocratic class, under Lehar, Schoenberg, Mahler, and Webern's pens the waltz became the pivot between the conscious and unconscious, forcing the music into a paralytic "second state" analogous with the stagnation of the Habsburg Empire. The Waltz: The Decadence and Decline of Austria's Unconscious shows how over the hundred years between the Vienna Congress and the dissolution of the Empire, the waltz altered from signifier of upper-class artifice-covering with glitz and glamour the poverty and war central to the time-to the link between the three classes, between man and nature, and between Viennese and "Other." Danielle Hood wields the Freudian concepts of the uncanny and the doppelganger to explain this revolution from the simple signification of a dance to the psychological anxiety of a subject's place in society.

It's been said that if you can't find it in New York City, you can't find it anywhere, and that's probably true: rightly so, New York is one of the world's great cities, if not the greatest of them all. But even the most diehard New Yorker will delight in the pleasures and discoveries to be found in "New York: The Unknown City," which unlocks a treasure chest of Gotham secrets, some dark, some light, and some just plain weird.

This guidebook̷for residents and visitors alike―will tell you where the bodies are buried, and where others have been dug up; where to get the best pizza slice, the best knish, and the most expensive martini; how to explore the Hudson River for free via kayak, and how to navigate your way through the wilds of Central Park by streetlight. There are also tales of underground sex clubs, viral outbreaks, a secret tunnel in Grand Central Station, an electrocuted elephant at Coney Island, and little-known bars, cafes, hangouts, and other places to frolic. From the Bowery to Broadway, from the five boroughs to the Five Families, these are the best of the 8 million stories the Naked City has to offer.

Brash, smart, and defiantly unapologetic, this anti-Frommer/Fodor's guidebook―the first American city in Arsenal's alternative travel series―will make you see Gotham City in an entirely new light. You think you know New York? You don't know anything until you've read "New York: The Unknown City."