Showing 131 - 140 of 607 annotations tagged with the keyword "Sexuality"
Summary:Desmond Bates is a retired professor of linguistics who lives with his second wife, "Fred," in a "northern" British town. He is becoming increasingly deaf, and, although he wears hearing aids (except when he doesn't), his social interactions--even those with Fred--are fraught with difficulty and occasional hilarious misunderstandings. His deafness is at the center of the novel, providing the title of this work of fiction, but also serving as an extended, often funny, but ultimately serious impetus to riff on aging, disability, and mortality. "Deafness is a kind of pre-death, a drawn-out introduction to the long silence into which we will all eventually lapse" (19).
Summary:Twenty-one stanzas of couplets spin out stereotypes of Native Americans promulgated by white American culture. Among those stereotypes that Alexie develops: the tragic Indian; Indian women as sexual objects for white men; Indian men as secretly desirable to white women; Indians as violent, alcoholic, childlike, mystical, and members of a "horse culture." But in addition, Alexie emphasizes how American whites have co-opted Indian culture: "white people must carry an Indian deep inside themselves" until finally, "all of the white people will be Indians and all of the Indians will be ghosts."
In this and other works, French artist Suzanne Valadon steps outside the boundaries established for women artists in the male-dominated world of art. Portrayal of the gazed-upon female nude was reserved for men who conventionally painted them as objects: ageless, beautiful, seductive, passive, and vulnerable. Women painted flowers and children, not nudes.
Not only does Valadon violate traditional expectations, she presents an adolescent nude who, like most adolescents, is self-absorbed with her appearance. She is not positioned for the viewer's gaze, but for her own self-appraisal. The pubescent child/woman sits at the edge of the bed intent upon her own image in a handheld mirror. In contrast, a fully clothed woman, probably her mother, sits behind her on the bed gently towel-drying the girl's shoulder and arm.
Summary:Triggered in part by a trip to the Galápagos Islands, the author interweaves two parallel narratives: Darwin's "journey toward evolution" along with the related work of Alfred Russel Wallace; and the author's own journey through life, partially disabled and dependent on the specially fitted shoes that help him to walk. Together these two narratives develop "all I have come to understand about chance and change, fear and transformation, variation and cultural context, ideas about the body that question the definition and existence of difference in all of our lives" (xvii).
Summary:John Romulus (also known as Richard) Brinkley was a physician (in the diploma-mill sense of the word) who, in 1917, pioneered, in the U.S. at least, the notion of goat testicle transplant. "Transplant" must be understood in the loosest sense of the word since Brinkley simply removed the testicles from young goats and sewed them into the abdominal wall and scrotal tissues - without any attempt to connect blood or nervous tissues of either goat testicles or human - of men for the alleged purpose of relieving impotence. From 1917 until his downfall at the hands of Morris Fishbein, a medical crusader esconced in the AMA, which organization Dr. Fishbein helped establish as the premier advocate of organized medicine in the U.S., Dr. Brinkley was perhaps the most recognizable physician in the U.S.
Summary:Clever, investigative journalist Stephanie Delacourt is sent from Paris to the mythical Santa Varvara to cover police inspector, Northrop Rilsky, in his quest to solve a series of high profile murders with political overtones. The back of each victim is “signed” with a carved figure 8 (or infinity?). At the same time, the distinguished historian Sebastian Chrest-Jones (CJ) disappears. Unbeknownst to everyone but the reader, he has just murdered his Chinese mistress, who is pregnant with his child.
Summary:Mabry Kincaid, a New York art conservator is flying home on September 11, 2001, when news comes to him on the plane of the attacks on the World Trade Center. Unable to return to his apartment in the city, he decides to visit his aging father, an Episcopal priest, in his boyhood home in North Carolina. There he meets Audrey, an African-American seminary student in her forties, who has moved in to care for his disabled father. In the ensuing weeks Mabry is led to reflect deeply not only on the fate of the country and of his career, but on how his father's apparently final illness compels him to come to new terms with their constrained relationship. The death of the brother Mabry always believed to be the favorite has left a painful chasm between father and son, made more so by his father's own admission of favoritism.
Deenie is an attractive seventh-grader whose mother, determined that her good looks not be wasted, is pushing her toward modeling. When she tries out for the cheerleading team, however, Deenie's gym teacher notices her slightly crooked posture and refers her to an orthopedist who diagnoses adolescent idiopathic scoliosis. Both Deenie and her mother are horrified. Deenie decides an operation to "fix it" is the lesser of two evils when the alternative is to wear a brace for four years, but the doctor assures her the brace is the appropriate treatment.
Wearing the brace, initially merely a source of embarrassment, frustration, and anger, gradually makes Deenie aware of other kids with whom she has avoided contact because of various "handicaps." Her relationships within the family and among friends shift because of this new self-awareness and of others' varied capacities to accommodate to her new limitations.
The most gratifying discovery for her is that the boy with whom she has been developing a first romance does not find the brace a barrier either to friendship or to the tentative intimacies of early love. The subtheme of developing sexuality complements the novel's focus on body image as a crucial aspect of adolescent psychology.
This book in large-format (11 1/8 x 8 3/4 in.) is made up primarily of wonderful illustrations but there is also clear and clever text; both media clearly explain the structures and systems of the human body. Although nominally listed as “Juvenile Literature,” The Way We Work is sophisticated and detailed enough to educate and entertain adult readers, without losing the interest of intelligent young readers.
The drawings, in pencil and watercolor, are dazzling: large, colorful, with a variety of layouts and perspectives. Many go across double-page spreads, and many include a witty image of one or more small observers. In “Mapping the Cortex,” for example (pp. 158-159), an enormous, multicolored brain takes up most of two pages; it is partially exploded into 11 areas, labeled by name and function, and coded (sensory, motor, or association). A tiny (one-inch) man below with a question mark over his head looks at a dangling rope (I think) hanging from the brain. A small text block fits in the lower left-hand corner.
The book is organized by seven chapters, each for a body system, such as “Let’s Eat” (digestive system), “Who’s in Charge Here?” (nervous system), and “Battle Stations” (immune system). While the parts of the body (anatomy) are clearly shown, the book stresses biological process (physiology), truly “the way we work,” and in considerable detail. In “Let’s Eat,” for example, there are 50 pages, starting from what foods we eat, our sense of smell, taste receptors, teeth, chewing muscles, salivary glands and saliva, the entire alimentary canal, including biochemical and molecular activity, the roles of pancreas, liver, and kidney, and urinary and fecal outputs.
Children of all ages will enjoy “Journey’s End,” which shows a gigantic rectum miraculously suspended over a cityscape, with dump trucks arriving below it to receive stupendous loads. Indeed, there is much humor in the book, both in the drawings and in the text blocks.
Summary:Up-and-coming architect, Guy Haines, is traveling to Texas to obtain a divorce from Miriam, pregnant with another man’s child. He has nothing but contempt for her and cannot wait to begin a new life with more sophisticated and loving Anne. On the train, he meets slender, disturbing Charles Bruno, who hates his father. With a lot of booze Bruno goads Guy into confessing his hatred for Miriam. Bruno then proposes a double murder plot, where each would kill the other’s problem. Appalled, Guy leaves, forgetting his book of Plato.