Showing 101 - 110 of 131 annotations tagged with the keyword "Drug Addiction"
In this tightly organized study of the relationship between creativity and manic-depressive disease and its variants, the author asks and attempts to address some interesting questions. Is there sufficient evidence in the histories of well-known artists and their families to demonstrate a genetic linking of creativity and depressive disorders? Are there phases in classic bipolar cycles that are particularly conducive to bursts of, or sustained, creative productivity? Does treatment (be it chemical or psychotherapeutic) of his or her psychiatric symptoms blunt the ability of the artist to work successfully?
In an attempt to answer these and other intriguing questions, Jamison explores in some detail the personal, family and creative histories of writers long suspected of being depressed with or without alcohol or having periods of mania. She opens by defining for the novice the parameters of the disorders in question, examines some of her subjects' family history of "madness," and discusses evidence for relationships among the waxing and waning of depressive disorders and creative productivity.
Told from the perspective of a thirteen-year-old girl, this story about a single mother with two daughters who moves, marries, and dies of breast cancer handles a variety of difficult issues with sensitivity and spunk. A list of those issues--absent father, new stepfather, a thousand-mile move to a new social environment, first menstruation, sibling rivalry, an uncle with incestuous impulses, family secrets, sexual experimentation, cancer, and death--might make it sound like a catalogue of the trials of contemporary suburban young adulthood, but in fact the point of view of Tilden, the main character, keeps the story grounded in very believable, sometimes amusing, often poignant, recognizable truth about what it is to come into awareness of the hard terms of adult life.
The mother's cancer is narrated largely in terms of Tilden's experience of it: secrecy, eventual disclosure, partial information, losses of intimacy, feelings of betrayal, confusion about caregivers' roles, and in the midst of it all, the ordinary preoccupations of early adolescence. The generous and understanding stepfather and neighbors with limited but ready sympathies lighten some of the novel's darker themes.
When Gerald is three, his mother, a drug addict, leaves him alone one time too often and he accidentally sets the apartment on fire. His mother is imprisoned for negligence, he goes to the hospital, and thereafter lives with "Aunt Queen," a great-aunt who exercises considerable authority from her wheelchair, and gives him all the love his mother hasn't.
When he is 9, however, his mother returns with a new sister and a man who claims to be the sister's father. They want to take him "home"; Gerald wants to stay with Aunt Queen. The matter is settled unhappily when Aunt Queen dies of a heart attack.
Gerald soon learns to despise his stepfather for his violence and, eventually, for the abuse of his half sister, which she hides out of fear until she's driven to confess it to Gerald in hope of his protection. Their mother remains in denial about that problem as well as her own and her husband's addictions to alcohol and drugs.
Caring for his sister, however, keeps love in Gerald's life. In defending her one last time, the apartment catches fire and his stepfather is killed. As he, his sister, and his mother ride away in the ambulance, a flicker of hope survives in the darkness for another new chapter in family life, this time without violence.
This long-lined poem is an eloquent and angry diatribe directed toward the god who wasn't there, a god who, if he had been present to them, would have saved the poet's father and his family from another god who DID appear in their lives, the god of amphetamine.
The god of amphetamine is "the god of wrecked / lives, and it's only he who can explain how my doctor father, / with a gift of healing strangers and patients alike, left so many / intimate dead in his wake." He is the god of diet pills, of the "rampant mind," and of "tiny, manic orderings in the midst of chaos." He is also the god of terrible and destructive scenes in the poet's family, because, in fact, the poet's father was the high priest of this god, "preaching its gospel, lifting it like a host and / intoning . . . Put out your tongue and receive it." [37 lines]
A dark comedy about an upper-middle class blended family living the technology overloaded, mall-mad contemporary American life in a small midwestern town until catastrophe strikes. Jack Gladney teaches Hitler studies at the College-on-the-Hill. He is married to his fourth wife Babette, who reads tabloids to the blind and teaches posture classes to senior citizens. Together, they have four children, and a quirky extended family.
Interspersed in the noisy, chaotic family relationships is the central questions that obsesses Jack and Babette: who will die first? Death is everywhere in this story--on TV, radio, at the mall, in Hitler studies, and at home. Then an industrial accident releases an "airborne toxic event"--a lethal cloud of Nyodene D. to which Jack is exposed.
Absurd, witty, and almost plausible, the catastrophe answers his question about who will die first, but tells him nothing about death itself. What is the meaning of death, and, by implication, life? In the final section, dying Jack goes to hospital and meets nun Sister Hermann Marie and questions her about her faith. She explains that her piety is only a pretence: . . . "we are here to embody old things, old beliefs. The devil, the angels, heaven, hell. If we did not pretend to believe these things the world would collapse." (p. 318)
The Physician in Literature is an anthology edited and introduced by Norman Cousins that aims to illustrate the multiple ways in which doctors are portrayed in world literature. Literary selections are organized into 12 categories including Research and Serendipity, The Role of the Physician, Gods and Demons, Quacks and Clowns, Clinical Descriptions in Literature, Doctors and Students, The Practice, Women and Healing, Madness, Dying, The Patient, and An Enduring Tradition.
Some of the notable authors represented in this collection include Leo Tolstoy, Herman Melville, Albert Camus, William Shakespeare, Charles Dickens, George Bernard Shaw, Anton P. Chekhov, Orwell, Fyodor Mikhailovich Dostoevski, Ernest Hemingway, Thomas Mann, Gustave Flaubert, and Sir Arthur Conan Doyle. A healthy dose of William Carlos Williams makes for some of the most enjoyable reading ("The Use of Force" and excerpts from his Autobiography).
The editor, herself a writer and one who has suffered depressive episodes, collects a series of personal essays or illness narratives about experiences with depression. Her contributors are all artists, primarily writers, who generally but not exclusively speak to the relationship between their art and their mood disorders. Some of the essays included have been previously published, but most are original contributions to this collection. The collection is introduced by Kay Redfield Jamison whose academic work has examined the relationship between creativity and depression, including manic-depressive disease.
Anton Chekhov died in 1904. His sister Marya (or "Maria" in this novel) survived the Communist Revolution and two World Wars to die in 1957 at the age of 94. After Anton's death, the unmarried Maria assumed his role as head of the extended Chekhov clan and she devoted the remainder of her life to the protection and advancement of her brother's literary legacy. To do so, she had to plead his case with the Russian authorities and later adapt to the political (and literary) orthodoxy imposed by the Communist regime. Early in the Soviet era, Maria successfully lobbied to have the Chekhov house at Yalta turned into a State museum, thereby insuring that the author's books and papers would be preserved.
The action of this novel takes place during the Great Patriotic War in late 1941 when the Germans occupied Yalta. Maria lives at the Chekhov museum, where she presides as curator. Also living at the house is Peter Kunin, a medical student and would-be writer who is Maria's protégé. In preparation for the Germans' arrival, Maria arranges the house to make it seem that Chekhov was pro-German. For example, she has Kunin dig up an old portrait of Goethe to hang over the mantelpiece.
Despite these machinations, the Germans fully intend to billet soldiers in the museum until a mysterious man named Diskau shows up. Diskau, who works for the German Ministry of Culture, insists that the Chekhov household be spared. In fact, he proposes to win over the local population to the German "liberators" by staging a New Year's Eve production of The Seagull in the abandoned Imperial Theater.
The remainder of the novel traces preparations and rehearsals, culminating in the single catastrophic performance of The Seagull, during which all is revealed.
The aging and isolated Austin Fraser paints vividly realistic images inspired by his past; he then covers them with a filmy top coat that obfuscates the clarity. His housekeeper thinks he spoils his work with this "style."
Son of a privileged mining magnate, he spent his summers on the northern shores of the Great Lakes, and his winters in upstate New York. His model, Sara, opened her life to him, and waited. He took without giving in return. His good friend George, destined to inherit his father's China Hall, is satisfied, it seems, with a meager life in porcelain painting and selling--trite, cozy images that Austin scorns. They both remember Vivian, a beautiful sophisticate who floated through their lives one summer long ago. Austin has been away in the big city for many years, but he has a hankering to see George again. Vivian reappears and goads Austin to make the journey back in time.
Wounded in the war, George has found a partner in Augusta--a fragile nurse, haunted by her horrifying war experience and addicted to morphine. But when George is confronted with Vivian again, the peaceful stability vanishes. To his amazement, Austin discovers that George had actually married Vivian that summer, but she left him at the urging of his mother. Her return opens painful wounds. After a night of recollection with Austin, Augusta slips away. Austin waits downstairs while she overdoses on morphia. George finds her dead and takes his own life too. Austin has the bodies removed.
Frank is an emergency medic and ambulance driver working night shifts for Our Lady of Mercy hospital in Hell's Kitchen, New York City. The novel begins with Frank's resuscitation of an elderly man called Mr. Burke, who has had a heart attack, and ends a couple of days later with Mr. Burke's death in the hospital. Frank is haunted by the patients he has failed to save, some of whom inhabit his experience like kinds of ghosts.
Most insistent is a teenage girl called Rose who died during an asthma attack, in part because Frank was unable to intubate her in time. He is also unable to forget his marriage, which ended because of the deadening effects of his work. And now Frank is also haunted by doubts about the value of restoring life.
He has successfully started Mr. Burke's heart, but the man is brain dead. Frank thus watches as Mr. Burke's family is first given hope and then must learn that there is none. Frank almost falls in love with Mr. Burke's drug-addicted and disillusioned daughter, Mary, perhaps seeing in her an opportunity for a mutual restoration to health.
But when her father finally dies--when the attending realizes that the patient's struggle hasn't been the "survival instinct" but rather a "fight to die"--she blames Frank, who recognizes that his purpose is not simply to keep people alive (or to bring them back from the dead), but rather that "saving lives" means preserving their value, somehow, in his memory. He walks away from the hospital, and when he gets home, Rose--her ghost, and Frank's own symbol for all the patients he hasn't resurrected--is waiting there, to forgive him.