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Pamela was well into her journey of recovery when a series of treatment program and medical errors conspired to kill her. The awful irony was that she did not take her life, but irresponsible, stigmatizing and poor residential and medical care did. One of the moments, and there are many in the closing pages of this book, that gives me shame about how professionals and administrators do not meet their responsibilities, was in the Emergency Room at UCLA medical center.

Pamela had been brought there after experiencing a known hypertensive drug reaction induced by eating certain types of cheese while taking Parnate. The reaction is characterized by very high blood pressure with confusion, headache, and restlessness. The result was that she did not receive the proper medical evaluation and care that might have spared her life.

Other moments that made me cringe were told with clarity and intelligence throughout the book. Among the most disturbing are examples of demonizing parents of a person with a mental illness or blaming the victim of rape, for example because she has a psychiatric condition. Reading about what appears to have been a cover up of wrong doing in the California residential program was enraging for me; imagine what that was like for her parents and siblings. Having been the Medical Director of McLean Hospital, a Harvard psychiatric teaching hospital, and a government official for over 12 years, I believe everything depicted in this profound book is not only possible but happens more than we want to think.

There are also vivid paintings and drawings by Pamela at various stages of her short life from the time she became acutely ill. These are emblematic of her demons as well as illustrative of her creative talents. Paula Tusiani -Eng , another daughter in their family, is also listed as author. She was instrumental in the legal work and in giving the story its first person voice.

This book is a family affair - surely one way they have worked to recover and to help others similarly affected.

Welcome to my life…on paper

But I am most admiring of Bea. As has been said, no parent, no mother, should see a child die. And to lose a child who may have recovered is all the more agonizing. Bea Tusiani only tells us at the end of the book that she is a writer - though it is plain enough how powerful a writer she is as she lets the story, the events she chronicles, show us so much about her daughter, her family, and our flawed mental health and medical systems.

What is also so inspiring about the book Bea Tusiani has given us, which is why I found hope reason to believe , is how she gives us a front row seat so we witness the courage, love, determination and stamina of the Tusiani family. The opinions expressed here are solely mine as a psychiatrist and public health advocate. I receive no support from any pharmaceutical or device company. Lloyd Sederer, M.

A review of the new documentary directed by Josh Howard. Clint Eastwood directed, produced, and starred in this moral tale. Back Psychology Today.

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Review: Jackalope Theatre's Life On Paper Asks What a Life Is Worth | Third Coast Review

Back Today. Gender Segregation at Work. Changing Paradigms in International Adoption. Lloyd I Sederer M. Follow me on Twitter. Here is how Pamela Tusiani put it p. Blue and yellow pills line up at full attention.

Skin deep: Japan’s ‘washi’ paper torn by modern life

Tempted by distaste, My heart pumps with thick muddy rage BPD is twice as common as schizophrenia and bipolar illnesses combined , with likely over 10 million people in the USA impacted 2 to 6 percent of the adult population. Copyright Dr. Lloyd Sederer. Comment Post Comment Your name.


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E-mail The content of this field is kept private and will not be shown publicly. Barkan is a sensitive and thoughtful guide through this fragile legacy of a monumental figure. Michelangelo, he writes, 'remains stuck in the paradox of a godlike creativity that cannot bring him closer to God. Barkan's reading of the richly evocative paper trail reminds us how much we still have to learn about this towering, quivering man.

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Princeton University Comp Lit Professor Leonard Barkan has decided to shift his eye, and attention, two inches to the left and right to take seriously all the scribbling, doodling, lines of poetry, and notes to workshop assistants, in the margins of Michelangelo's drawings on paper. The volume includes more than museum-quality reproductions of the artist's most private papers, many in color. As quirkily brilliant--and ultimately more satisfying and helpful than--Derrida's '80s meditations on Nietzche's laundry list, Barkan's book is both fun and a paradigm shift. This is the first study to fully explore the intriguing interplay of words and images, providing numerous insights into the artist's life, work, and unconscious motivations.

His brilliant analysis of individual sheets vividly highlights the important role played by the written word in Michelangelo's artistic process and creativity. The book provides a rare and intimate look at how Michelangelo's artistic genius expressed itself, especially in moments of unselfconscious expression when the artist shifted from drawing to words and vice versa.


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  • Illustrated with more than excellent reproductions, many in color, this sumptuous volume is beautifully produced. The book is beautifully produced, with excellent reproductions. Analyzing the shifting dynamics of mise-en-page, of ellipsis and parataxis, of private and public expression, Barkan draws a rich portrait of the man; this is a portrait all the more convincing for its recognition of tension and conflict resolvable not in the life but only within the world of the paper.

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    Writing surfaces continually invite doodles, while stunning feats of draftsmanship meet an unrelenting stream of bills, letters, poems, and inside jokes. In the congenial company of a preeminent critic of the art and literature of the Renaissance, we follow the careers of sheets of paper marked up, handed off to assistants, corrected, then revisited years later, then sent off—or, more often, filed away in Michelangelo's scrupulous archive. From the midst of this productive chaos, Leonard Barkan counsels us to abandon the dream of a congruent collaboration of word and image, pointing the way instead to a concrete and strangely familiar poetics of intersection and interruption.

    In his analysis of surviving sheets that contain writings relating to the artist's adjacent figural and architectural studies, Barkan illuminates Michelangelo's career as an artist, his psychological and spiritual evolution, his social and professional relationships, and the creation of poems for which he was equally celebrated in his time. His interpretations are consistently perceptive and informed by a command of both the art-historical and literary corpus of scholarship.

    Ackerman, author of The Architecture of Michelangelo. An astute reading of interior life and outer symbol, methodologically sound, and deeply empathetic, Michelangelo: A Life on Paper is an illuminating analysis of the relation of art and life and where we might go to find it. Michelangelo: A Life on Paper manages to capture the restless movement of the great artist's quicksilver mind. It takes us deep into Michelangelo's creative process, a place where public and private, sacredness and carnality, grandeur and pettiness, vast ambition and self-tormenting doubts are all tangled together.

    Barkan seems to possess, as if vividly inscribed in his own memory, the hundreds of sheets of paper on which Michelangelo set down his sketches and poems. By sharply focusing on the complex relation on these sheets between words and images, this remarkable book chronicles what Barkan calls the artist's lifelong acts of 'personal refashioning. Thanks to Barkan, future students of Michelangelo's graphic work will have to look and think harder.

    Barkan is an accomplished scholar of Renaissance literature and poetry, and a person completely conversant and adept in analyzing and discussing visual imagery. The manner in which he deftly moves between writing and drawing, between word and image, is breathtaking.