BOOK REVIEWS / COMPTES RENDUS DE LECTURE
these sections typically discuss Canadian findings in the context of
what has been learned from research conducted in other countries.
However, for some topics (e.g., severe mental illness and gender
and depression) there has been a paucity of Canadian research. In
these cases, the relevant chapters are more reviews of the topic of
interest that include Canadian-specific background information or
that discuss the need for Canadian research on particular topics.
As I suspect most readers of this book will also experience, I
found my interest in each of the chapters in sections three and four
was clearly influenced by my familiarity with the topic, my pre-
existing interest in the topic, and the extent to which the authors
could discuss Canadian-specific findings and issues. For example,
Heather Stuart’s chapter on mental disorders and social stigma is
stellar, but it is possible my enthusiasm for the chapter was
influenced by my limited but growing interest in stigma research
and by the high quality research available for her to review.
Given the broad range of topics in sections three and four, it
would take an academic with a great diversity of expertise to
competently provide a critical evaluation of each contribution. I
venture toward the critical for only one of these chapters. Isaac
Sakinofsky and Greg Webster provide a comprehensive review of
Canadian research regarding the epidemiology of suicide. Since
most of the findings discussed in this chapter were not obtained
from community surveys, which were thoroughly described in the
introductory/background chapters, a brief introduction to the meth-
odology used to study suicide would have been a useful addition to
this chapter. Given the frequent use of firearms in suicides, they
also briefly discuss legislation aimed at reducing firearm availabil-
ity. The authors make several statements that imply they are in
favour of the current long gun registry. Readers who do not share
the authors’ views on this political and policy issue may view a
few of these statements as inaccurate, or at minimum, would likely
find them to be unwanted distractions from the focus of the
chapter.
Section five (Mental Health Care Services and Policy) is a
loosely connected group of three chapters. Paula Georing and
Charlotte Waddell’s chapter on knowledge translation arguably
provides the most unique contribution within this section. Knowl-
edge translation is a great idea, but the term typically reminds me
only of instances in which evidence has been ignored by policy-
makers. Georing and Waddell provide examples from their own
careers regarding the challenges involved in utilizing the findings
of psychiatric epidemiology to shape policy. Fortunately, they also
report on some successes and describe the persistent and pragmatic
efforts required to achieve these successes.
The final section (Final Thoughts) is comprised of a single
chapter in which the editors answer the question “Where Do We
Go from Here?” If their thought provoking and reasoned sugges-
tions are followed, the next wave of mental health epidemiology
will look very different from those of the current generation. If you
purchase or borrow this book, be sure not to skip this chapter.
When considering Mental Disorder in Canada in its entirety, I
have two mildly critical observations/suggestions. I suspect read-
ers without a background in epidemiology or mental health would
find a brief glossary of epidemiological, statistical, and diagnostic
terms helpful. I would also have preferred fewer chapters on topics
for which there is limited Canadian research. They do not fit well
with the rest of the book, and they also detract from its enthusiastic
tone. Perhaps a single chapter highlighting these specific gaps
323
would be sufficient acknowledgment of the need for more research
in these areas.
I hope some readers noticed the cognitive distortion (i.e., di-
chotomous thinking) in the end of my introductory paragraph
(“Would this be a dull book of summaries or an exciting show-
case?”). Not surprisingly, neither of these descriptions accurately
characterise Mental Disorder in Canada. Much of the book is
comprised of summaries of important topics, and these chapters
will likely be used primarily as resources by those wanting to learn
more about mental disorders or specific psychiatric epidemiology
topics. However, it is important to note that several of these
chapters raise thought-provoking questions and are really much
more than summaries. While I suspect few potential readers would
find the entire book exciting, the editors did achieve their goal of
showcasing Canadian contributions to psychiatric epidemiology
and much of this material will be fascinating to those with an
interest in mental disorders.
John Cairney, PhD, is an associate professor in the Departments
of Psychiatry and Behavioural Neurosciences and Family Medi-
cine at McMaster University and a senior research scientist at the
Centre for Addiction and Mental Health.
David L. Streiner, PhD, is a professor in the Department of
Psychiatry at the University of Toronto.
Lachlan A. McWilliams, PhD, is a clinical psychologist and an
associate professor of psychology at Acadia University. He teaches
an undergraduate seminar in psychiatric epidemiology, and has
utilized secondary analyses of community survey data to investi-
gate a wide range of research questions related to psychopathology
and chronic pain.
The Cambridge Handbook of Creativity, by James C. Kaufman
and Robert J. Sternberg (Eds.) Cambridge University Press,
2010, 508 pages (ISBN 978-0-521-51366-1, CA $145.95 Hard-
back; ISBN 978-0-521-73025-9, CA $65.95 Paperback)
Reviewed by SUSAN O’NEILL
DOI: 10.1037/a0025504
Over a decade has passed since Sternberg edited the Handbook
of Creativity for Cambridge University Press. In the intervening
years, Kaufman and Sternberg tell us that more than 10,000
publications have been devoted to the topic of creativity. In our
modern world, manifestations of creativity have become practi-
cally synonymous with what it means to reach our human poten-
tial. Today, companies such as Research In Motion, the creators of
the Blackberry Smartphone, are almost as likely to hire graduates
from the liberal arts and humanities as they are from science and
technology. Creativity has become a valued resource. And yet, as
Kaufman and Sternberg point out in this volume, even after six
decades of research, definitions of creativity remain elusive. Cre-
ativity research continues to be the subject of much debate. Still,
the chapters in this volume demonstrate that progress is being
made with an increasing convergence of components, contexts,
and complexity. The handbook is informative for students and
324 BOOK REVIEWS / COMPTES RENDUS DE LECTURE
newcomers to the field, as well as for those looking for up-to-date
reviews of major theories and applications of creativity research.
A quick scan of the contents reveals an impressive array of
topics by esteemed authors. The book is divided into three main
sections: 1) basic concepts, 2) diverse perspectives on creativity,
and 3) contemporary debates. The sections relate to three main
questions: 1) How can we define and measure this complex con-
struct? 2) How can we make use of its potential in a variety of
areas and contexts? 3) How can we recognise and negotiate the
constraints on creativity?
Section 1 presents an introduction to creativity that examines
historical contributions to research, theories of creativity, assess-
ments of creativity, and the roles of creativity in society. Aspects
of creativity have long been known as the P’s of creativity: person
(or personality), process, product, and place. More recent concep-
tualisations have added persuasion, because creative people
change the way other people think, and potential, which is the
actualization of personality and place in combination with attitudes
and values. According to Seana Moran in Chapter 4 “The Roles of
Creativity in Society,” it is the function and purpose of creativity
that has become more important than traits or positions. I found her
chapter compelling as she described how Internet communities
provide people with opportunities for “creativity-as-expression” as
a way of coping with the challenges of living in today’s world. She
argues, “creativity results from a community,” which is similar to
participatory cultures that both inspire and support young people’s
creative engagement in digital media. Participatory cultures foster
creative engagement by providing relatively low barriers to artistic
expression, strong support for creating and sharing one’s creations,
informal mentorship, and a sense of social connection. I believe
that these online communities offer a rich area for future creativity
research.
Section 2 offers a broad selection of topics that include key
perspectives on creativity such as cognitive, developmental, edu-
cational, cross-cultural, and evolutionary approaches. As a music
psychologist, I was particularly drawn to Paul Locher’s Chapter 7
entitled, “How Does a Visual Artist Create an Artwork?” Reading
through the real-life case studies of the art-making process, I was
reminded of past research involving protocol analysis and similar
approaches that explored the process composers engage in while
composing a piece of music. Creative activity is not only a by-
product of being involved in a creative process; it can act as a
catalyst for moving through blocks and blind alleys in the creative
process. Locher makes a similar point about the “dynamically
interactive” nature of the “entire creative process.” And yet, I was
somewhat disappointed that Lochler did not provide a more com-
plete picture of the interconnected socio-cultural-historic factors
that influence artists and their artistic creativity. Ideas for moving
toward more braided or blended and integrated research directions
are much more apparent in other chapters. For example, in Chapter
8, Gerard Puccio and John Cabra consider a systems approach to
organisational creativity that argues for a more dynamism in
examining the complex whole of creativity “as it is formed and
influenced by individual components.” And in Chapter 10, Ruth
Richards explores personhood and cultural values in relation to
everyday creativity through the constructs of originality and mean-
ingfulness. She emphasizes a number of alternative ways of know-
ing that challenge existing conceptualisations of normative and
accepted ways of being creative and offer innovative ways of
understanding and enhancing creativity as a process in human
development.
Section 3 offers an opportunity to consider current debates and
provocative issues in creativity theory and research, such as links
between creativity and motivation, individual and social aspects of
creativity, creativity and mental illness, relationships between cre-
ativity and intelligence, and creativity in the classroom. Ronald
Beghetto’s critical review of research in Chapter 23, “Creativity in
the Classroom,” highlights the “conflicted nature of creativity in
the classroom” because educational structures (e.g., gifted and
talented programs, extracurricular activities) and curriculum man-
dates (e.g., the No Child Left Behind Act of 2001 in the United
States) have led many teachers to “mistakenly believe that identi-
fying and nurturing creativity is not part of the curricular respon-
sibility.” Beghetto discusses the barriers to creativity in the classroom
and suggests a number of “direct and potentially influential ways” that
teachers can support and facilitate creativity in the classroom, such as
fostering students’ creative self-efficacy beliefs.
In the final chapter, Sternberg and Kaufman discuss some of the
obvious and not so obvious constraints on creativity. They remind
us that creativity is somewhat unique as compared with many other
psychological constructs because “it exists in the interaction of the
stimulus and the beholder.” A reference group or some form of
consensual agreement is necessary for a work to be considered
creative. Also, as Sternberg and Kaufman remind us, creativity
will always be at least to some extent unpredictable. This makes it
difficult to measure in any formulaic way. The authors also point
out that various constraints on creativity (e.g., resources, opportu-
nities, tasks, education, social acceptance) may act as a negative
barrier for some but as a positive enabler for others. They conclude
their chapter by adding that, “Constraints do not necessarily harm
creative potential—indeed, they are built into the construct of
creativity itself.” The pluralistic nature and complexity associated
with creativity research is a testament to both the health of the field
and the importance and fascination we continue to have for the topic.
James C. Kaufman is an associate professor of psychology at the
California State University at San Bernardino, where he directs the
Learning Research Institute. His research focuses on the nurtur-
ance, structure, and assessment of creativity. He is the author or
editor of more than 150 publications, including 17 books either
published or in press.
Robert J. Sternberg is Provost and Senior Vice President of
Oklahoma State University. He is also Honorary Professor of
Psychology and Education at Tufts University. The central focus
of his research is on intelligence, creativity, and wisdom, and he
also has studied love and close relationships, as well as hate. He is
the author of approximately 1,200 journal articles, book chapters,
and books, and he has received more than $20 million in govern-
ment and other grants and contracts for his research, conducted in
five different continents.
Susan O’Neill is an associate professor in arts education at
Simon Fraser University. She has published widely in the fields of
music psychology and education. She is Director of Research for
Youth, Music and Education (RYME), and her research focuses on
the impact of youth artistic and music engagement on motivation,
identity, creativity, multimodal learning, and cultural understand-
ing.
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