Showing 1141 - 1150 of 1154 annotations tagged with the keyword "Human Worth"
A depressed housewife, Eve White (Joanne Woodward), is brought by her husband (David Wayne) to consult a psychiatrist (Lee J. Cobb) because her behavior has been strange. Although she denies it, she has purchased uncharacteristically seductive clothing and has been singing and dancing in bars.
Her surprised doctor is soon confronted with a different but equally inadequate personality, the sexy Eve Black. He recognizes the case as an example of the rare condition, multiple personality disorder, and embarks on a course of psychotherapy in search of the woman's missing memories.
Eve's unhealthy marriage disintegrates when she chooses to remain in therapy rather than move away with her violent husband. Psychotherapy helps her to the repressed memory of an instance of childhood abuse: being forced by her mother to kiss the corpse of a dead relative. A third personality, that of intelligent, insightful Jane, slowly emerges to replace the other two. Jane establishes a new life with a loving man.
Summary:A woman named Kitty calls the doctor and reports that her husband has died. "Can you come over?" she asks. At the house he finds that the husband has been shot in the head. It is evident that the wife has killed him. The doctor reflects that Kitty "held the record for most abused woman in Taylor County." He remembers how many times he has seen her badly beaten by her husband. In the end he decides to "play God." He calls the police chief and reports the death as a "clear" suicide.
Summary:The poet stands in the Protestant Cemetery at Rome, beside the grave of John Keats, on which the epitaph is written: "Here lies one whose name was writ in water." The poet addresses the cemetery ("Fair little city of the pilgrim dead"), commenting on the beauty of the place and of its music: "Sing in the pure security of bliss." Yet, even this serene place cannot comfort the poet, who has inherited "the anguish of the doubt / Writ on this gravestone."
Summary:In the waning days of World War II, Hana, a Canadian nurse, refuses to leave the temporary hospital in a Tuscan villa where she cares for her mysterious English patient, a soldier burned and bandaged beyond recognition. The patient is haunted by the memory of a love affair in North Africa. Hana is joined by Kip, a Sikh bomb-disposal expert, who becomes her lover, and by Caravaggio, a friend of her father and sometime-criminal-turned spy. The three establish a loose pattern of precarious existence in a ravaged world and form a bond of love around the dying man whose identity they try to uncover.
Summary:The speaker is poor, homeless, and desperate. The place is Minnesota, the season winter. He cries out, "I am a full-blooded Sioux Indian." He is about to go hungry and "to leap barefoot through gas-fire veils of shame . . . . " Yet, the man acknowledges, "my life was never so precious / To me as now." He will learn anything, do anything, be anything, for the sake of his precious "secret, / My life."
Summary:Frankenstein's monster is speaking. "Bigger than the best, but not the best," he will do anything, he will not rest until "the earth is rid of that Creator / who dared to make a thing without a soul." He tells us that he is "the dark body . . . / made . . . to symbolize your dread." He warns us that he is not really something exterior or alien--we can find him in our sons and daughters, even in ourselves: "While you disperse in every dark theater / in streams of light, inside you I am whole."
This disturbing poem describes a locker room scene in which a young man feels compelled to tell his male companions and fellow handball players, "how he did it to her and what she did to him." According to the narrator, completion of the sex act for the man depends, it seems, on such indiscreet accounts. Prior to the disclosure, the men had been self-congratulatory, saying that their game "had been terrific." Readers are left wondering what the now naked sportsmen would say; would the story be seen as another "terrific" game or would the offender be checked?
Summary:In this poem, a young woman with cerebral palsy must withstand the rude stares of children and the withdrawal of adults as they watch her walk to the beach. The narrator has never had a normal appearing body. She likens herself to objects in nature: mantises, crabs, coquinas. While these comparisons are not exactly flattering, they allow her to feel that she belongs in the world of nature. Only in the natural world are her jerky movements considered normal. Sitting on the beach she feels "inconsequential." Yet, the way her body is able to "stay the waves" and "more than stay-Resist," suggests that she is not inconsequential.
Summary:In the future envisioned in the novel, many children are born with severe physical handicaps, the result of toxic environmental conditions. Their brains, however, are perfectly healthy. Scientists place the infants' stunted bodies in mechanical shells, then train them to perform complex technical tasks. At adolescence, their brains are removed from their bodies and placed in machines. Their machines are their bodies, over which they have complete control. The Ship Who Sang is the story of one of these children who is placed inside the hull of a space ship. She falls in love with one of the fleshly men who board her. The resulting trauma is resolved when it is decided that they will be partnered forever.
Summary:Snodgrass writes about an old veteran who took seven months to die. The voice in the poem is that of a hospital attendant who provided some of the tedious, technical care that kept Old Fritz alive all that time. Though Old Fritz's "animal" may have "grown / sick of the world," his "mind ground on its separate / way, merciless and blind." He endured, he kept on living. Old Fritz raged against death, although he also "whimpered" and cried "like a whipped child . . . . "