Human Givens - A new approach to emotional health and clear thinking



HG Publishing | ISBN 1 899398 31 7 | Author: Joe Griffin and Ivan Tyrrell | English | PDF | 440 Pages | 5.63 MB

Foreword
IT IS A general rule in medicine that, when there are a number of different theories purporting to explain a condition, one can be certain that all of them are wrong, though each may have certain facts right. There are over 400 different models of psychotherapy in the West today, with the proponents of each model competing with the others and laying claim to primacy. How is it possible to have so many different models when there is general agreement about how the brain works? Can you imagine having 400 different schools of physics or mathematics? By dint of clear thinking, Joe Griffin and Ivan Tyrrell lead us out of this muddle. They have assembled verifiable scientific information on how the brain works, including important original work of their own, and created a new organising idea - the human givens approach - that has the potential to transform the practice of psychiatry, psychotherapy and counselling. Although my interest is in psychiatry and psychotherapy, it is obvious to me that this big idea also has great relevance to other important areas of life, such as education, social work and personal relationships. Some of the information in this book will be new and startling to many, some, at first glance, will appear familiar. But Griffin and Tyrrell's assembly of it is unique in that the bits and pieces that stick out in other therapy models now fit together, and this fit is both aesthetically pleasing and of immense practical use.
For example, they succeed in making reading about depression exciting! This common, rapidly rising condition is costing Western society enormous pain; emotional and financial. It is also a major cause of premature death through suicide. Depressed mood, loss of interest and enjoyment, fatigue, poor concentration, guilt, suicidal thoughts, and disturbed sleep and appetite, are generally agreed criteria used to diagnose depression. Often a person with depression will complain of early morning wakening, with depressed mood and tiredness worst at that time. To overcome the fatigue he or she may try to sleep longer than usual but the tiredness persists. We also know that depressed people spend a greater proportion of sleep time in the REM (rapid eye movement) state, that artificially shortening the REM..............................


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International Thriller Writers, Inc. | ISBN: 978-3-527-30817-0 | Edited by: James Patterson | English | PDF | 572 Pages | 6.76 MB

Introduction
This book is a trailblazer on two counts. It’s the first short-story anthology of thrillers ever done, and it’s the first publication of a new professional organization: International Thriller Writers, Inc. By nature writers tend to be loners, happy with their work, their families and a few close friends. But we also yearn occasionally for collegiality. For years we’ve all said to one another, “Why don’t we organize?” Then in June 2004, Barbara Peters, of the legendary Poisoned Pen bookstore in Scottsdale, Arizona, held the first-ever thriller conference in the United States. She invited six writers— Lee Child, Vince Flynn, Steve Hamilton, Gayle Lynds, David Morrell and Kathy Reichs—and one editor, Keith Kahla, of St. Martin’s Press, to give presentations about the various aspects of writing and publishing thrillers. Clive Cussler spoke at the luncheon. With only two weeks to publicize the event, Barbara thought she’d be lucky if a hundred people registered. In the end some 125 attended and, to everyone’s
surprise, not all were there to learn about writing. Many were readers who wanted to meet some of their favorite thriller authors. Here for the first time was concrete evidence of what most of us had long suspected: there was a demand among fans for a thriller writers’ organization, too. If we held conventions, readers would likely attend, as well as us. And if we awarded prizes—there have never been awards specifically for thriller books, stories and films in the English language—that interest would only grow. On the last day of the conference, in the sunny restaurant at the Biltmore Hotel in Scottsdale, several of the attendees stood around talking. Gayle Lynds, a highly accomplished thriller writer, mentioned that she thought the conference indicated the time had come to create an association for thriller writers. Adrian Muller, a journalist and freelance conference organizer, pointed out that the association should not be limited to the United States. Barbara Peters said she’d be willing to hold another, larger convention. Realizing that she’d almost committed herself, Gayle quickly announced, “I can’t organize this alone, though.” Her husband, the incomparable Dennis Lynds, added, “She’s right. She can’t.” Barbara merely smiled and said, “Pull in David Morrell. He’s perfect.” And that’s what happened. Adrian Muller volunteered to send out e-mails to every thriller author he could find to see if there was enough interest among writers to form a group. A few days later, Gayle and David had a long telephone call, discussing their workloads and a potential thriller organization that would be international in scope. They agreed to jointly head the effort, and over the summer of 2004 Adrian, David and Gayle talked and exchanged e-mails. Adrian arranged with Al Navis, who was orchestrating Bouchercon 2004, the great congregation of mystery readers and writers, to assign a room in which the thriller authors could meet. The response to Adrian’s e-mail was impressive. Author after author said that an association was a great idea. A meeting was held on October 9 in the Metro Toronto Convention Centre and, after many discussions, International Thriller Writers, Inc. was born. In November 2004, members were solicited. That response was likewise incredible. Currently there are over four hundred members, with combined sales exceeding 1,600,000,000 books. This is all quite astonishing, and fitting because thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes go on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre’s most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn’t thrill, it’s not doing its job. Thrillers, though, are also known for their pace, and the force with which they hurtle the reader along. They’re an obstacle race in which an objective is achieved at some heroic cost. The goal can be personal (trying to save a spouse or a long-lost relative) or global (trying to avert a world war) but often it’s both. Perhaps there’s a time limit imposed, perhaps not. Sometimes they build rhythmically to rousing climaxes that peak with a cathartic, explosive ending. Other times they start at top speed and never ease off. At their best, thrillers use scrupulous research and accurate details to create environments in which meaningful characters teach us about our world. When readers finish a thriller, they should feel not only emotionally satisfied but also better informed—and hungry for the next riveting tale. Henry James once wrote, “The house of fiction has many windows.” That observation
certainly applies to thrillers, and this anthology is an excellent example. When Gayle Lynds suggested producing it, International Thriller Writers, Inc. sent out a call to its members for stories. Many replied, and thirty were ultimately selected for inclusion. I was contacted about acting as editor and readily agreed, while Steve Berry, another ITW member and thriller author, took on the responsibility of managing director. When the book proposal was finally shopped by agent Richard Pine, himself an ITW member, several publishers expressed interest and, after a bidding war, MIRA Books acquired the rights. Generously, each of the contributors to this book donated his or her story. Only ITW will share in the royalties, the proceeds earned going into the corporate treasury to fund the expansion of this worthwhile organization. The theme of this anthology is simple. Each writer has used a familiar character or plotline from their body of work and crafted an original story. So you have something known, along
with something new. As you’ll see, the variations are captivating, as the writers’ imaginations soared. Each story is prefaced by an introduction from me that sets up the writer, his or her work and the story. At the book’s end, there are short biographies of each contributor. What a pleasure it was to read the stories as they came in, and it’s my hope that you’ll likewise relish the tales. So prepare to be thrilled. And enjoy the experience.

—James Patterson



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