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This paper discusses crisis intervention with the suicidal client from the perspective of two clients who discuss both the strengths and challenges they have encountered while in crisis. The paper then discusses a model for understanding a suicidal crisis and a template for intervention.

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Background: The experiences and barriers associated with the return to paid employment following healing from recurrent suicide attempts related to mental illness have not been addressed in the literature to date. Method: This paper is a collaborative case study between graduates (experts by experience) and facilitators of a psychosocial/psychoeducational group for people with recurrent suicide attempts. The journeys taken by the experts by experience are explored through thematic narrative analysis. Findings/Results: Issues of stigma, disclosure, accommodations, maintaining wellness and coming to re-define a sense of self were consistent themes found throughout all narratives. Conclusions: The paper identified key areas of challenge and celebration, suggesting the need for enhanced support from health care providers, workplace managers, supervisors and colleagues for successful transitions into the workplace.

The prolepsis in Denis Villeneuve's Arrival emphasises the cyclical nature of the film's narrative and anchors human reproduction as a central theme. Pregnancy, the pregnant body, and the physical, experiential nature of birth, commonly heavily gendered in film, are misleading focal points in the narrative. The presence of the unborn as a subtext in the film problematises Iris Marion Young's (2005) notion of pregnant embodiment as a subjective lived-body experience. The viewer is encouraged to empathise with the complexity of birth, life, and death as part of Louise's lived-body experience, but is finally confronted with the uncertainty of maternity, pregnancy and the unborn. When Barbara Duden (1992) calls the unborn foetus a “not-yet”, she describes the process by which the foetus achieves a legal status, and the precarious nature of ascribing life or personhood. The prolepsis, which punctuates the main narrative, emphasises the reversibility and irreversibility of life that does “not-yet” exist. Importantly, the constant hovering over the threshold of life in the film complicates the timeline of reproduction. At the end of the film's narrative, the main character Louise Banks (Amy Adams), is “not-yet” pregnant, is “not-yet” a parent, and has “not-yet” lost a child. The temporal shifts in the film rely on repositioning or reorienting both Louise and the viewer to the “not-yet” reproductive body and the “not-yet” child. By presenting events out of chronological time and returning to the time before and after a child is born, the film ultimately raises crucial questions about the ethics of reproduction, the quality of life, and issues of consent.