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So you want to try psychotherapy. But what does it actually do?
From psychoanalysis to existential therapy, there’s a bewildering variety of approaches – with one thing in common
Sam came into psychotherapy during a difficult period at work. He had started to feel as if he was stagnating in his role and it was getting him down. As he approached midlife he had reached a level of seniority that he had sought for years, but now he was starting to wonder whether this was it. He wasn’t sure exactly what the matter was: he didn’t feel especially depressed, just somehow stuck. It had taken him a long time to consider speaking to someone – what could they really do, in the absence of an obvious psychological disorder?
Psychotherapy occupies an increasingly central place in our culture. Just as we have become inclined to understand our struggles and our sadness under the heading of “mental health”, so too we have placed ever greater authority on psychotherapists to help us understand how we should deal with the problems life throws up. Even those without diagnoses of depression, anxiety or obsessive compulsive disorder increasingly seek therapeutic support, with a recent survey finding that around a third of the population have done so.
‘It’s not just a book, it’s a window to my soul’: why we’re in love with literary angst
Why did an obscure Dostoevsky novella sell 100,000 copies in the UK last year? And why are TikTokers raving about a 1943 Turkish novel? The way young people are discovering books is changing – and their literary tastes reflect our times
The sales patterns for classic novels are normally a fairly predictable business. “Every year it’s the same authors,” says Jessica Harrison, publishing director for Penguin Classics UK. “Austen is always at the very top, and then all the school ones: Orwell, An Inspector Calls, Of Mice and Men, Jane Eyre.”
But last year it was different. Penguin’s bestselling classic by far was a little-known novella by Fyodor Dostoevsky. White Nights sold more than 100,000 copies in the UK in 2024. It is an angsty story of impossible love, run through with characteristic Dostoevskian gloom. A young man and woman meet on a bridge in St Petersburg on consecutive nights: his love for her is unrequited; she is despairing because the man she really loves has ghosted her. The pleasure the young man takes in her company is shadowed by the knowledge that it can never be permanent.



