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David Dobbs' new feature in our October 2017 issue  "The Touch of Madness " tells a story that is both heartbreaking and uplifting  and all too familiar: A young woman with a bright future temporarily loses herself in mental illness  and finds the fraying of her social bonds to be more durably worse  in some respects  than the underlying condition itself. That young woman  Nev Jones  manages to pull herself out of the bottom of the well  finishing graduate school and going on to become a key advocate and scholar among reform-minded thinkers in the world of mental-health treatment and policy. But it wasn't easyâand wouldn't have been possible without the ideas and support of the practitioners and scholars she found shortly after her mental illness derailed her graduate studies.
Your story describes how  the mental-health researcher and activist Nev Jones (and a growing number of others)  are pushing for the medical establishment to think about schizophreniaâor related diagnoses of "madness " as  they  are known colloquiallyâin a radically new way. What is new about it  and what makes it so radical?
 Nev Jones  and other scholars and advocates like  her  want us to see what  they  call madness  meaning schizophrenia  bipolar  and other serious mental ailments  less as biological phenomena  and more as cultural phenomena.  They 're asking us to see these phenomena not only as a breakdown of brain connection  as  they 're typically cast in the West  but as breakdowns in social connection.  They  want us to see how culture shapes madness: People with schizophrenia simply do worse in societies that define schizophrenia as primarily biological and that isolate people who are mad.
Who is  Nev Jones   how did you find  her   and how did  she  come to these ideas?
A few years ago in 2012  after the mass shooting in a movie theater in Aurora  Colorado  I wrote a blog post for Wired about how it's not coincidental that some of the sickest and most paranoid and angry people who go mad in the U.S. resort to violenceâwith guns in particular. It's an expression of madness that does not happen in places that are less gun-oriented and less violent overall. The idea was that culture shapes the expression of madness in that way. It got a lot of pushback  so I did another iteration of the blog post  and in doing that I looked around the Internet to find people who articulated the same idea better than I did  and one of those people was  Nev Jones .  She  had related some episodes from  her  own descent into madness that were helpful in illustrating what I was trying to say.
At the time  she  was a graduate student and still in the middle of  her  recovery from a psychotic episode that  she  had in grad school  after the school bungled a few things in response to  her  psychosis and proved far from helpful. The societal response in  her  case seemed to aggravate  her  deep psychotic state that lasted for some time.  She  was able to climb out of that by connecting to other people and by studying and absorbing  herself  in the literature on how culture shapes madness.  She  connected with other people who studied it and wanted to get the word out.  She  proved effective at this  finishing  her  studies in community psychology at DePaul University  and then becoming more well known in what some people call the madness community. These are people who study it and advocate for those who have had it  whom they call people with lived experience.
 She  ended up getting an invitation to go to Stanford University's anthropology department. What  she  was doing was tapping into a couple of decades of increasingly busy and deep work in academia  looking at how cultureâbroadly definedâaffects our view of madness  in particular how it affects the experience of people who have schizophrenia. In Nev Jones  I found someone who was by all accounts one of the most dynamic and exciting experts in the field  and  she  was also someone who lived through this and had deep insight both from  her  scholarship and from  her  experience of becoming very sick for a couple of years  and used  her  insights on how cultures shapes madness to climb back out of  her  illness to a state of high-function and happiness.
 Nev  and  her  peers are not making the case that physical characteristics like genes and brain chemistry are not involved.  She 'd tell you  of course the brain is involved  and we need to deal with that  sometimes with medication. But overlooked in the West's heavy emphasis on the biological definition of madness and other mental illnesses is how vital social connections are to the experience of mental illness. When people have mental illness in the U.S.  especially if it's a psychotic disorder like schizophrenia  one of the first things that happens is their social networks fall apart and they're left alone precisely at the time when they most need social connections. If you start to understand these things  it should change how you think societyâfriends and family  the broader culture  as well as the medical cultureâshould evaluate and respond to someone experiencing first-episode psychosis.
 Nev Jones  told you about how a mass shooting involving someone diagnosed with schizophrenia shaped others' perceptions of  her  during  her  first episode  while  she  was in graduate school. What does the media tend to get wrong about incidents like the one in Las Vegas just this week? We don't know anything about the shooter's motives yet  but the conversation on social media has quickly turned to mental illness  per usual.
Where did the conventional wisdom that folks like  Nev  are trying to revise come from? Describe the intellectual history you explored for this piece.
Aside from the constant warfare over funding for health care in Congress? In the psychiatry establishmentâthe American Psychiatric Association  for instanceâthere is a heightened awareness with every passing year. That's one of the main goals for  Nev Jones  and other people who advocate along these lines: to increase awareness among the psychiatric establishment  partly so the establishment is more open to making people with lived experience meaningful and full partners in any organization that makes decisions about how to respond to mental healthâwhether it be a board that's trying to help create a first episode psychosis clinic  or a clinic that is going to treat or work with psychotic people. Right now  if you have psychosis and you're in this profession  it's seen as a reason not to include you in treatment level activity  whereas it should actually be seen as a plus  because of the greater understanding and credibility that you'll have with a patient. It's encouraging that the APA is looking at this more.
Nev Jones

Jill Goodacre  a former model and the wife of musician and actor Harry Connick  Jr.  revealed Wednesday  her  secret five-year battle with breast cancer.
 Goodacre   53  told People that  she  went for a routine annual mammogram in October 2012  and though that test came back clear   her  sonogram didn't.
After undergoing a biopsy  the model learned  she  had Stage 1 invasive ductal carcinoma  the most common form of breast cancer.
 She  immediately underwent a lumpectomy and radiation  which  she  says "absolutely wiped ( her ) out."
"I was scared I was going to lose  her   absolutely " he told People. "I wasn't going to let  her  see that  but I was. I know from losing my mom that the worst can happen.  She 's my best friend  and I really don't know what I would do without  her ."
The couple also revealed that one of the most difficult parts of learning  Goodacre  had cancer was breaking the news to their three daughters.
"It broke my heart "  she  said.
 Goodacre  was diagnosed with breast cancer in October 2012. (John Salangsang/John Salangsang/Invision/AP)
Jill Goodacre

On and off the reservation  American schools tend to whitewash the stories of Native Americans.  Frank Waln   a Lakota hip-hop artist from  He  Dog  South Dakota  is endeavoring to change that â with music that champions  his  heritage while demolishing Native American stereotypes.
On and off the reservation  American schools tend to whitewash the stories of Native Americans.  Frank Waln   a Lakota hip-hop artist from  He  Dog  South Dakota  is endeavoring to change that â with music that champions  his  heritage while demolishing Native American stereotypes.
 Frank Waln . (Photo: Tomas Karmelo Amaya)
A young man walks onto an empty stage. The spotlight glares off of his white moccasins and crisp long-sleeved button-down  which billows  untucked  over dark slacks. He cuts a slight figure against the venueâs deep  black backdrop  and his clean-shaven face  framed by two long black braids  makes him look younger than his 27 years. He speaks softly into the microphone  first in his native Lakota  then in English: âHello  relatives. My Lakota name is Walks With Young People. I also go by  Frank Waln . And I welcome you with an open heart and an open handshake.â
The enemy is ignorance  which reveals itself plainly in Walnâs new song âWhat Makes the Red Man Red â his send-up of the racist tune âWhat Made the Red Man Redâ from Disneyâs 1953 film Peter Pan. Walnâs song samples the tuneâs chorus and the filmâs offhand references to Native Americans as âaboriginesâ and âIndians.â That is  before  Waln  drowns them out with a sharp verse.
The crowd is on its feet now  some singing along  others bobbing in agreement with the beat. Walnâs frequent tours of reservations and his blunt  firebrand style have made him well-known among his people (heâs a two-time Native American Music Award winner). Recently   Waln  has made a splash in the mainstream media too: Heâs been featured on NPR and MTVâs Rebel Music: Native Americaand in Vibe and USA Today; he has performed at the South by Southwest festival in Austin  and at concerts in France and Germany. The day before his Albuquerque concert  he spoke at a Harvard University symposium on Native politics.
 Waln  is an ascendant member of a Native American hip-hop vanguard that is taking  its  message of social justice off of the reservation. What separates  Waln  and other socially engaged artists  like War Party  Without Rezervation  and Supaman  from older generations of Native artists  says Alan Lechusza Aquallo  a professor of American Indian studies at Palomar College  is their authenticity.  Waln  doesnât play to Native stereotypes  like a preaching elder or a fierce sports mascot â  his  performing persona is young  charismatic  believably real. âThere are a number of Native hip-hop artists who play off the kitsch of what it is to be Indian because thatâs whatâs going to give them notoriety â Aquallo says. â [Waln]  has  his  long braids  but  he âs wearing street clothes.  He âs not playing Indian.â
 Walnâs  overall message is plain: Americans â Native and non-Native alike â need to educate themselves about the real history and current politics of Americaâs indigenous people. And through his words and music  on the reservation and off   Waln  plans on delivering the wake-up call.
 Frank Walnâs  own education began on the Rosebud Sioux Indian Reservation  on the Great Plains of central South Dakota.  He  grew up in He Dog  a small Sicangu Lakota community  where  his  single mom and her sisters ran the family ranch.  His  father was abusive and mostly absent â the first of many scars  he  would learn to bear.
 Frank Waln . (Photo: Tomas Karmelo Amaya)
He Dog is located in Todd County  where the poverty rate approaches 50 percent  a problem with deep and tangled roots. Studies of modern Native Americans have shown that âhistorical trauma â the name that social workers give to the perception of historical loss passed down through generations  has been linked to symptoms of emotional distress like anger  anxiety  substance abuse  and even depression.  Waln  remembers grappling with these manifestations even as a child. âIt was very confusing to me â he says. âI was wondering why I was struggling with depression all the time  why I had suicidal thoughts  why the suicide rate was so high on our reservation. I was very insecure.â
 Waln  says his confusion stemmed from the fact that  beyond the traditions passed down through his family  he didnât know much about the political history of his people. And indeed  with scant resources  schools on American reservations have fallen behind. A 2011 National Indian Education Study found huge deficits in reading and math scores for schools heavily attended by Native American students. Schools controlled by the Bureau of Indian Education  which are run by tribes  fared even worse: Fourth gradersâ reading scores averaged 182 on a 500-point scale  compared to 204 in public schools. Only 43 percent of eighth-graders said that their teachers included any Native American culture or history in their curricula.
 Frank Waln . (Photo: Tomas Karmelo Amaya)
âIn my opinion  the way history is taught in this country is colonial propaganda â  Waln  says. âI was aware of the big atrocities  like the Wounded Knee Massacre and the government giving us blankets with smallpox. But I didnât know the details and how recent some of these discriminatory laws were.â
If  Waln  didnât see  himself  in textbooks growing up   he  did in music.  He  learned piano at age seven;  he  joined a Lakota drum group in middle school. When  Waln  was a teenager   his  older cousins started gathering in their basements to make music  influenced by rappers like Nas  Talib Kweli  Dead Prez  and Eminem.  Waln  started sampling beats and recording on  his  laptop. To  his  mother and most of the adults in  his  cowboy-and-rodeo community   Walnâs  sudden infatuation with hip-hop could be attributed to hip-hopâs popularity with kids his age. But to  Waln   his playlist wasnât just about youth culture. âA lot of Native Americans are living in poverty â he says. âHip-hop was born in poor communities of color.â
 Frank Waln . (Photo: Tomas Karmelo Amaya)

Frank Waln