Showing 141 - 150 of 195 annotations tagged with the keyword "Alcoholism"
A prosperous lawyer (Skvortsoff) encounters a ragged beggar, who claims to be a teacher fired unjustly from his job. Skvortsoff, however, remembers that he saw the same man the other day, when he had claimed to be an impoverished student. The beggar (Luskoff) breaks down and admits that he is simply a drunk without work. Skvortsoff offers him a job chopping wood, which he reluctantly accepts. Olga, the cook, takes Luskoff out and shows him the wood stack.
After that, Luskoff returns frequently to do odd jobs, and eventually Skvortsoff sets him up with a clerical position. Two years later, Skvortsoff sees the former beggar at the theater. He prides himself for having "saved" Lushkoff from a life of drunkenness, but Lushkoff reveals that it was Olga who saved him--she chopped the wood, and the compassion she showed led to a change in his heart.
The police receive a report that Mark Ivanovitch Klyauzov has been murdered. Indeed. he has not left his bedroom in a week. When the inspector and his assistant arrive, they soon find "evidence" that Klyauzov. a man who led a life of drunken debauchery, was strangled in his room, carried out the window, and later stabbed in the garden to finish him off.
Dyukovsky, the brash young assistant inspector. eagerly interprets every clue. He concludes that three perpetrators were involved in the murder. Two held down the drunken Klauzov, while the third person strangled him. They quickly arrest the valet and the gardener. But who is the third culprit? Could it be Klyauzov's sister, who disagreed with him over religion?
Dyukovsky identifies the central clue, an unusual Swedish match dropped at the scene of the crime. By brilliant detective work, he discovers that a pack of Swedish matches was purchased by the police superintendent's young wife. The inspectors confront he--she quickly caves in. However, all is not as it seems, as the story rushes (or perhaps. lurches) to its surprise ending.
May-Alice Culhane (Mary McDonnell) is a daytime soap opera star who is struck by a taxi in New York and wakes up in a hospital paralyzed from the waist down. Upset and bitter, and unable to continue acting, which she says is the only thing she was ever good at, she returns to her Louisiana bayou family home to begin the rest of her life in isolation.
An employment agency sends out a string of helpers. Some are better than others, but all are quickly defeated by May-Alice’s deep bitterness and negativity and her incipient alcoholism. Then comes Chantelle (Alfre Woodard), who needs the job so badly, as part of digging herself out from a cocaine addiction, that her determination makes her a match for May-Alice.
It is decidedly bumpy going, but Chantelle persists and May-Alice finally strops drinking and begins to make some progress in physical therapy. She takes up black-and-white photography, developing her own prints from her wheelchair, and she gratefully receives the gentlemanly attentions of her high school idol Rennie, played by David Strathairn. (The film takes its title from a practice that locals believe can make love-wishes come true.)
In a village of Reybuzh lives an elderly tyrant who has two sons, one of whom works in a factory in the city, while his ailing wife lives in the village with her in-laws. The other son, a disabled alcoholic, has remained at home; his wife is "a handsome young woman, smart and buxom." The two wives are essentially no more than servants in their father-in-law's house. One day a traveler stops overnight in the village. Before going to bed, he relates the sad tale of Kuzka, his adopted son. The boy's mother was beaten by her husband. She subsequently poisoned him and, after being convicted of murder, died in prison.
Later that night, one of the young wives (Varvara) returns home from a toss in the hay with the priest's son. The other (Sofya) accosts her, and they discuss the traveler's story as they ruminate on their own terrible lives. Varvara suggests that they could poison her drunken husband and their father-in-law. Sofya is tempted, but frightened of being caught, and of God's punishment. The next morning the traveler settles his account, and he and the young boy leave.
During Christmas week, Yergunov, a hospital assistant, is returning from a trip to another village when he gets caught in a snowstorm. He stops at a local tavern, where Kalashnikov, "an arrant scoundrel and horse-stealer" and Merik, "a dark-skinned peasant who had never been to the hospital," were also seeking shelter. Lyuba, the barmaid, cries, "Ugh! The unclean spirits are abroad!" The men start pondering the question of whether devils exist, and Yergunov tells the story of how he actually encountered a devil one day, while he (Yergunov) was out in the field vaccinating peasants.
When the storm quiets down, the men prepare to leave. Yergunov attempts to leave at the same time as Kalashnikov, because he is afraid the man will steal his horse, but Lyuba stands suggestively in front of the door, inviting Yergunov's caress. "Don't go away, dear heart," she murmurs.
Meanwhile, Kalashnikov proceeds to steal the horse, which, in fact, belonged to the hospital. After these delaying tactics, Lyuba raps the duped man on his head and tosses him out. Some months later, after he has lost his job because of drunkenness, Yergunov passes the tavern, wondering wistfully what it would feel like to be a thief.
The 58 year old plastic surgeon who narrates this story has plenty of problems. He drinks too much and his surgical skills are deteriorating. His wife Maya, a neurosurgeon young enough to be his daughter, has a miscarriage not long after her father dies from a brain tumor. The narrator is plagued by an obsession with butterflies.
He seems to have inherited his unnatural interest in these insects from both his father and grandfather. Strangely, the pursuit of butterflies has brought only tragedy to these men. Maya believes her husband's butterfly collection is a curse so she destroys it. Her action seems insufficient to liberate the narrator from the burden of his ancestors. He is convinced that his destiny was dictated by his family years ago.
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.
At the heart of this novel is a simple love story. Dr. Bruno Sachs, a slight, stooped, and somewhat unkempt general practitioner in a French village is dedicated to his work and loved by his patients. Sachs is a solitary, self-effacing man who takes his Hippocratic duties seriously and is especially sensitive to the needs of his patients.
In addition to his private practice, Sachs works part-time at an abortion clinic, where he performs an abortion on a distraught young woman named Pauline Kasser. Soon the doctor and his patient fall in love. She moves in with him and becomes pregnant. An editor by profession, Pauline also encourages and assists Dr. Sachs in completing the book he is writing.
The story has many additional layers and dimensions. The reader views Sachs through the eyes of multiple narrators--his patients, colleagues, friends and acquaintances, all of whom write in the first person and present Bruno Sachs as "you" or "he." Thus, the reader gradually builds up a "connection" (empathy) with Sachs by synthesizing multiple glimpses of his behavior and facets of his character. At the same time, Sachs is trying to find his own voice, his own connection, by becoming a writer. At first he jots down random thoughts, then he keeps a notebook, and eventually he produces a complete manuscript.
The book has innovative structural elements that introduce other layers of meaning. For example, the 112 short chapters are organized into seven sections, corresponding with the components of a complete clinical case history: presentation (as in "chief complaint"), history, clinical examination, further investigations, diagnosis, treatment, and prognosis. Similarly, the narratives delve progressively into Sachs' "illness" and follow the "patient" through his course of "treatment."
Another structural element is the cycle of fertility and gestation. The story takes place from September through June, precisely 40 weeks, a pregnancy of nine months, during which Sachs is re-born.
Summary:A patient expresses his anger and frustration with the physicians who are treating him. A recovering alcoholic, he feels particularly sensitive to what he perceives as the doctors' self-righteousness, and imagines how he would get even with them.
It is evening; the shades are drawn; the sanitarium is quiet. Inside, the inmates knit and play chess. "The period of the wildest weeping, the fiercest delusion, is over. Inside, everyone has quieted down; even "the manic-depressive girl / is leveling off." There has been a certain amount of improvement. The poet salutes the fortunate ones; for example, the older wife "who has been cured of feeling unwanted" and will soon be home, feeling "as normal and selfish and heartless as anyone else." There is so much to be happy about. Soon the drunks will be cured, and all the cats will be happy. And so, as we leave this scene, "Miss R looks at the mantelpiece, which must mean something." [35 lines]