This book is a small anthology: each chapter a kind of meditation-on poetry and psychoanalysis; on a poem, sometimes two; on poetry in general; on thought itself. The poems are beautiful, some are contemporary, some are classical and well worth a reader's attention. "The motive for metaphor" is the title of a short poem of Wallace Stevens in which he says he is "happy" with the subtleties of experience. He likes what he calls the "half colours of quarter things," as opposed to the certainties, the hard primary "reds" and "blues." To grasp and make sense of what is elusive (and beautiful), that is, for the essential and puzzling condition of poetry, we are obliged to make metaphors. The same is perhaps true of psychoanalysis-this is the essential argument of the book. The chapters were originally poetry columns that the author wrote for Psychologist-Psychoanalyst and Division/Review (both journals of the Division of Psychoanalysis of the American Psychological Association).

This book gives insights into the pain and suffering involved when people are grieving for someone who has committed suicide, but it also offers hope without diminishing the significance of the suffering involved. As such, it has a lot to offer, and is therefore to be welcomed.' - Well-Being 'This book provides deep and valuable insight into the experiences of "suicide survivors" - those who have been left behind by the suicide of friend, family member or loved one.' - Therapy Today 'The personal stories are full of pathos interest and will clarify where the death leaves those left behind. The list of self-help groups is world wide and it will be useful that you can point the bereaved and traumatized in the right direction.' - Accident and Emergency Nursing Journal 'The authors describe powerfully the effect of suicide on survivors and the world of silence, shame, guilt and depression that can follow. Author Christopher Lake is a suicide survivor and co-author Henry Seiden is an experienced therapist and educator. They use sensitive and unambiguous language to provide an understanding of what it is like to live in the wake of suicide and the struggle to make sense of the world. They also look at how survivors might actively respond to their situation, rather than being passive victims. This book should be read by any professional who is likely to come into contact with people affected by suicide.' - Nursing Standard, October 2007 'The book is well written and relevant to both survivors and professionals concerned for the welfare of those bereaved by suicide.' - SOBS (Survivors of Bereavement by Suicide) Newsletter 'Silent grief is a book for and about "suicide survivors," defined as people who have experienced the death of a friend or relative through suicide, and for anyone who wants to understand what survivors go through. The book explains the profound, traumatic effect suicide has on individuals bereaved in such circumstances. Using verbatim quotes from survivors it explains how they experience feelings of shame, guilt, anger, doubt, isolation and depression. This book provides good insight into the experience of individuals affected by suicide and can be a useful resource to anybody working with such people - be it prisoners who have lost someone close through suicide or the family of a prisoner following a self-inflicted death in prison. - National Offender Management Service. Safer Custody News. Safer Custody Group. May/June 2007 Silent Grief is a book for and about "suicide survivors" - those who have been left behind by the suicide of a friend or loved one. Author Christopher Lukas is a suicide survivor himself - several members of his family have taken their own lives - and the book draws on his own experiences, as well as those of numerous other suicide survivors. These inspiring personal testimonies are combined with the professional expertise of Dr. Henry M. Seiden, a psychologist and psychoanalytic psychotherapist. The authors present information on common experiences of bereavement, grief reactions and various ways of coping. Their message is that it is important to share one's experience of "survival" with others and they encourage survivors to overcome the perceived stigma or shame associated with suicide and to seek support from self-help groups, psychotherapy, family therapy, Internet support forums or simply a friend or family member who will listen. This revised edition has been fully updated and describes new forms of support including Internet forums, as well as addressing changing societal attitudes to suicide and an increased willingness to discuss suicide publicly. Silent Grief gives valuable insights into living in the wake of suicide and provides useful strategies and support for those affected by a suicide, as well as professionals in the field of psychology, social work, and medicine.

This book is a small anthology: each chapter a kind of meditation-on poetry and psychoanalysis; on a poem, sometimes two; on poetry in general; on thought itself. The poems are beautiful, some are contemporary, some are classical and well worth a reader's attention. "The motive for metaphor" is the title of a short poem of Wallace Stevens in which he says he is "happy" with the subtleties of experience. He likes what he calls the "half colours of quarter things," as opposed to the certainties, the hard primary "reds" and "blues." To grasp and make sense of what is elusive (and beautiful), that is, for the essential and puzzling condition of poetry, we are obliged to make metaphors. The same is perhaps true of psychoanalysis-this is the essential argument of the book. The chapters were originally poetry columns that the author wrote for Psychologist-Psychoanalyst and Division/Review (both journals of the Division of Psychoanalysis of the American Psychological Association).

Max White was an odd outsider to late 19th Century American history-with an immigrant's, in particular a Jewish immigrant's, perspective on the economic and social world of his time. As a young man he had some fascinating adventures-among them: in Poland, where he was born and then in London in the 1850s, and in Tampa during the war with the Seminoles, and in Nashville during the American Civil War. He relates these with a story-teller's zest and a sense of humor. He learned his English late; his voice is at once Yiddish in its inflection and high-flown Victorian in its aspiration. He is a genuine picaresque. As an old man in America he took a religious turn and longed for the Poland of his childhood and the coming heaven where he believed he would be reunited with the sainted souls he left behind in Kalisz. As editor I've tried to clean up his shaky grasp of English grammar and punctuation but have tried to stay try true his engaging voice. I provide an editor's introduction and some images: the frontispiece he designed for his memoir; a page of the handwritten manuscript; and an undated photograph of him at about age fifty. I also provide a postscript that adds some interesting historical and family context.