Rupi Kaur is a Canadian poet, author, illustrator, and performer. With her mother's encouragement, she began drawing at the age of five. She views her life as an artistic journey and has a degree in rhetoric studies. She is a poet and has performed her work internationally. Her debut poetry collection was published in 2014, Milk and Honey. It became a New York Times bestseller. The Sun and Her Flowers is her second poetry collection and was published in 2017.
Daniel Shaw illustrates the workings of this relational system of subjugation in a variety of contexts: theorizing traumatic narcissism as an intergenerationally transmitted relational/developmental trauma; and exploring the clinician's experience working with the adult children of traumatizing narcissists. He explores the relationship of cult leaders and their followers, and examines how traumatic narcissism has lingered vestigially in some aspects of the psychoanalytic profession.
Bringing together theories of trauma and attachment, intersubjectivity and complementarity, and the rich clinical sensibility of the Relational Psychoanalysis tradition, Shaw demonstrates how narcissism can best be understood not merely as character, but as the result of the specific trauma of subjugation, in which one person is required to become the object for a significant other who demands hegemonic subjectivity. Traumatic Narcissism presents therapeutic clinical opportunities not only for psychoanalysts of different schools, but for all mental health professionals working with a wide variety of modalities. Although primarily intended for the professional psychoanalyst and psychotherapist, this is also a book that therapy patients and lay readers will find highly readable and illuminating.
By the time of her death on 11, February 1963, Sylvia Plath had written a large bulk of poetry. To my knowledge, she never scrapped any of her poetic efforts. With one or two exceptions, she brought every piece she worked on to some final form acceptable to her, rejecting at most the odd verse, or a false head or a false tail. Her attitude to her verse was artisan-like: if she couldn’t get a table out of the material, she was quite happy to get a chair, or even a toy. The end product for her was not so much a successful poem, as something that had temporarily exhausted her ingenuity. So this book contains not merely what verse she saved, but—after 1956—all she wrote.—Ted Hughes, from the Introduction