Bob Dylan is the prince of self-reinvention and deflection. Whether it's the folkies of Greenwich Village, the student movement of the 1960s and 1970s, Born Again Christians, the Chabad Lubavitch community, or English Department postmodernists, specific intellectual and sociopolitical groups have repeatedly claimed Bob Dylan as their spokesperson. But in the words of filmmaker Todd Haynes, who cast six actors to depict different facets of Dylan's life and artistic personae in his 2009 film I'm Not There: "The minute you try to grab hold of Dylan, he's no longer where he was." In this psychobiography, writer Andrew McCarron uses psychological tools and script theory to examine three major turning points, or transformations, in Bob Dylan's life: the aftermath of his 1966 motorcycle "accident, " his Born Again conversion in 1978, and his recommitment to songwriting and performing in 1987. McCarron reveals how a common script undergirds Dylan's self-explanations of these changes; and, at the heart of this script, illuminates a fascinating story of spiritual death and rebirth that has captivated us all for generations.

Widely recognized as one of the most inventive and iconic science fiction writers of all time, Philip K. Dick is an author whose literary sophistication elevated the sci-fi genre into the storytelling powerhouse it is today. His works, known for their portrayals of simulated realities interspersed with universal and philosophical themes, have become enormously influential among writers of all genres and have inspired numerous television and film adapations, including the 1982 cult classic Blade Runner. Underneath the veneer of fame, Dick's personal life matched the dramatic intensity of his most beloved works. Beginning with the tragic death of his twin sister, his life took on a fantastical, science fiction-like quality when, in 1974, he had what some consider to be a psychotic episode and what others believe to be a mystical experience of some kind. According to Dick, a pink light beamed psychic information into his brain, awakening memories of a past life as a Christian revolutionary and granting him contact with time-traveling extraterrestrials. He also had visions of ancient Rome superimposed over his neighborhood in suburban San Francisco, and later on, attempted to warn local police that he was a machine programmed to self-destruct. As a result, Philip K. Dick spent the rest of his life trying to fathom the meaning of what he called his "divine madness." Was it schizophrenia? Or did he experience a genuine prophecy of the sacred order?In The Divine Madness of Philip K. Dick, clinical psychologist Kyle Arnold probes the fascinating mystery at heart and mind, and shows readers how early traumas opened Dick to profound spiritual experiences while also predisposing him toward drug dependency and violence. By disputing allegations of schizophrenia, Arnold contends that Dick's paranoia was instead caused by his addiction to speed, and that his mental illness was borne out of the powerful scenes of spirituality depicted in the sci-fi stories he helped to create.

Since John Lennon composed Lucy in the Sky with Diamonds in early 1967, fans and music critics alike have argued over the meaning of the song. Is it about drugs? Is it just a lyrical response to a drawing given Lennon by his 4-year-old son Julian? Is there some deeper meaning? Professor Tim Kasser goes beyond speculative explanations by applying innovative psychological methods to the song's lyrics and music. He deeply analyzes the song's linguistic structure, its basic theme, and the way its words and music had been used by Lennon in earlier songs. As the findings accumulate, Kasser weaves them together with the facts of Lennon's life and established psychological theories to provide an integrative (and sometimes surprising) perspective on the psychological processes that led Lennon to write Lucy in the Sky with Diamonds. Kasser goes on to follow the unfolding of these personal dynamics in later Lennon songs like I am the Walrus, Yer Blues, and Working Class Hero. No other book has so closely examined this period of Lennon's life with such a sophisticated psychological approach. Kasser's methods and perspective point to the usefulness of scientific psychology for understanding why a particular person does a particular thing at a particular time, at the same time that they shed new light on this fascinating and controversial man.

Truman Capote was one of the most gifted and flamboyant writers of his generation, renowned for such books as Other Voices, Other Rooms, Breakfast at Tiffany's, and his masterpiece, the nonfiction novel In Cold Blood. What has received comparatively little attention, however, is Capote's last, unfinished book, Answered Prayers, a merciless skewering of cafe society and the high-class women Capote called his "swans." When excerpts appeared he was immediately blacklisted, ruined socially, labeled a pariah. Capote recoiled--disgraced, depressed, and all but friendless. In Tiny Terror, a new volume in Oxford's Inner Lives series, William Todd Schultz sheds light on the life and works of Capote and answers the perplexing mystery--why did Capote write a book that would destroy him? Drawing on an arsenal of psychological techniques, Schultz illuminates Capote's early years in the South--a time that Capote himself described as a "snake's nest of No's"--no parents to speak of, no friends but books, no hope, no future. Out of this dark childhood emerged Capote's prominent dual life-scripts: neurotic Capote, anxious, vulnerable, hypersensitive, expecting to be hurt; and Capote the disagreeable destroyer, emotionally bulletproof, nasty, and bent on revenge. Schultz shows how Capote would strike out when he felt hurt or taken for granted, engaging in caustic feuds with Gore Vidal, Tennessee Williams, and many other writers. And Schultz reveals how this tendency fed into Answered Prayers, an exceedingly corrosive and thinly disguised roman a clef that trashed his high-society friends. What emerges by the end of this book is a cogent, immensely insightful portrait of an artist on the edge, brilliantly but self-destructively biting the jet-set hands that fed him. Anyone interested in the inner life of one of America's most fascinating literary personalities will find this book a revelation.

Bob Dylan is the prince of self-reinvention and deflection. Whether it's the folkies of Greenwich Village, the student movement of the 1960s and 1970s, Born Again Christians, the Chabad Lubavitch community, or English Department postmodernists, specific intellectual and sociopolitical groups have repeatedly claimed Bob Dylan as their spokesperson. But in the words of filmmaker Todd Haynes, who cast six actors to depict different facets of Dylan's life and artistic personae in his 2009 film I'm Not There: "The minute you try to grab hold of Dylan, he's no longer where he was." In this psychobiography, writer Andrew McCarron uses psychological tools and script theory to examine three major turning points, or transformations, in Bob Dylan's life: the aftermath of his 1966 motorcycle "accident, " his Born Again conversion in 1978, and his recommitment to songwriting and performing in 1987. McCarron reveals how a common script undergirds Dylan's self-explanations of these changes; and, at the heart of this script, illuminates a fascinating story of spiritual death and rebirth that has captivated us all for generations.

Widely recognized as one of the most inventive and iconic science fiction writers of all time, Philip K. Dick is an author whose literary sophistication elevated the sci-fi genre into the storytelling powerhouse it is today. His works, known for their portrayals of simulated realities interspersed with universal and philosophical themes, have become enormously influential among writers of all genres and have inspired numerous television and film adapations, including the 1982 cult classic Blade Runner. Underneath the veneer of fame, Dick's personal life matched the dramatic intensity of his most beloved works. Beginning with the tragic death of his twin sister, his life took on a fantastical, science fiction-like quality when, in 1974, he had what some consider to be a psychotic episode and what others believe to be a mystical experience of some kind. According to Dick, a pink light beamed psychic information into his brain, awakening memories of a past life as a Christian revolutionary and granting him contact with time-traveling extraterrestrials. He also had visions of ancient Rome superimposed over his neighborhood in suburban San Francisco, and later on, attempted to warn local police that he was a machine programmed to self-destruct. As a result, Philip K. Dick spent the rest of his life trying to fathom the meaning of what he called his "divine madness." Was it schizophrenia? Or did he experience a genuine prophecy of the sacred order?In The Divine Madness of Philip K. Dick, clinical psychologist Kyle Arnold probes the fascinating mystery at heart and mind, and shows readers how early traumas opened Dick to profound spiritual experiences while also predisposing him toward drug dependency and violence. By disputing allegations of schizophrenia, Arnold contends that Dick's paranoia was instead caused by his addiction to speed, and that his mental illness was borne out of the powerful scenes of spirituality depicted in the sci-fi stories he helped to create.

Since John Lennon composed Lucy in the Sky with Diamonds in early 1967, fans and music critics alike have argued over the meaning of the song. Is it about drugs? Is it just a lyrical response to a drawing given Lennon by his 4-year-old son Julian? Is there some deeper meaning? Professor Tim Kasser goes beyond speculative explanations by applying innovative psychological methods to the song's lyrics and music. He deeply analyzes the song's linguistic structure, its basic theme, and the way its words and music had been used by Lennon in earlier songs. As the findings accumulate, Kasser weaves them together with the facts of Lennon's life and established psychological theories to provide an integrative (and sometimes surprising) perspective on the psychological processes that led Lennon to write Lucy in the Sky with Diamonds. Kasser goes on to follow the unfolding of these personal dynamics in later Lennon songs like I am the Walrus, Yer Blues, and Working Class Hero. No other book has so closely examined this period of Lennon's life with such a sophisticated psychological approach. Kasser's methods and perspective point to the usefulness of scientific psychology for understanding why a particular person does a particular thing at a particular time, at the same time that they shed new light on this fascinating and controversial man.

Truman Capote was one of the most gifted and flamboyant writers of his generation, renowned for such books as Other Voices, Other Rooms, Breakfast at Tiffany's, and his masterpiece, the nonfiction novel In Cold Blood. What has received comparatively little attention, however, is Capote's last, unfinished book, Answered Prayers, a merciless skewering of cafe society and the high-class women Capote called his "swans." When excerpts appeared he was immediately blacklisted, ruined socially, labeled a pariah. Capote recoiled--disgraced, depressed, and all but friendless. In Tiny Terror, a new volume in Oxford's Inner Lives series, William Todd Schultz sheds light on the life and works of Capote and answers the perplexing mystery--why did Capote write a book that would destroy him? Drawing on an arsenal of psychological techniques, Schultz illuminates Capote's early years in the South--a time that Capote himself described as a "snake's nest of No's"--no parents to speak of, no friends but books, no hope, no future. Out of this dark childhood emerged Capote's prominent dual life-scripts: neurotic Capote, anxious, vulnerable, hypersensitive, expecting to be hurt; and Capote the disagreeable destroyer, emotionally bulletproof, nasty, and bent on revenge. Schultz shows how Capote would strike out when he felt hurt or taken for granted, engaging in caustic feuds with Gore Vidal, Tennessee Williams, and many other writers. And Schultz reveals how this tendency fed into Answered Prayers, an exceedingly corrosive and thinly disguised roman a clef that trashed his high-society friends. What emerges by the end of this book is a cogent, immensely insightful portrait of an artist on the edge, brilliantly but self-destructively biting the jet-set hands that fed him. Anyone interested in the inner life of one of America's most fascinating literary personalities will find this book a revelation.