Showing 151 - 160 of 608 annotations tagged with the keyword "Sexuality"
Summary:Based on the memoir by British writer Blake Morrison, who is played in the film by Colin Firth, the story unfolds through Blake's eyes. Blake's father Arthur (Jim Broadbent) is rapidly dying of cancer, cared for at home by Blake's mother, Kim (Juliet Stevenson). Blake's parents are both physicians. Blake is extremely ambivalent toward his father and reluctantly goes back to his childhood home to visit the dying man. As his father lies dying Blake hashes out within himself his conflicted feelings toward his father -- long-standing anger, contempt, guilt, occasional grudging admiration. The film flashes back and forth between the present and Blake's memories of the past.
Summary:In this disturbing work Kahlo paints herself lying on her back in a hospital bed after a miscarriage. The figure in the painting is unclothed, the sheets beneath her are bloody, and a large tear falls from her left eye. The bed frame bears the inscription "Henry Ford Hospital Detroit," but the bed and its sad inhabitant float in an abstract space circled by six images relating to the miscarriage, all tied to blood-red filaments the figure holds in her left hand. The main image is a perfectly-formed male fetus. The others refer to aspects of childbearing.
Summary:The novel's narrator is a widowed 58-year-old Swiss-born physician, Howard J. Rageet, who lives in New York City. His son is a pediatrician, his daughter a medical student. Rageet himself is terminally ill. He is writing a "little biography," of Mary Mallon, the infamous "healthy carrier" also known as Typhoid Mary. Rageet's grandfather, also a doctor, had kept a journal about Mary and his rivalry with his friend, (the real) George A. Soper, whose life's work became tracking Mary and proving that she was responsible for the typhoid outbreaks. Elaborating on the journal, Rageet recounts Mary's life in America.
Summary:A Place Called Canterbury by social historian Dudley Clendinen, former New York Times national correspondent and editorial writer, provides readers with an intimate and revealing account of aging in a particular place at a particular time--Canterbury Tower in Tampa, Florida. The story about the author's mother, Bobbie--and so many others--begins in 1994, a few years after the death of James Clendinen, Bobbie's husband of 48 years, and known to the community as the progressive editor of the Tampa Tribune. Although she had been "falling apart, a piece here, a piece there...collapsing vertebrae...bent, frail, and crooked...subject to spells and little strokes...." (p. xii),
Summary:George Hall has recently retired when he discovers a lesion on his hip which he takes to be skin cancer. Even though his doctor tells him that it is simply eczema, George is not reassured for long. His worry gradually becomes panic. He learns that his wife, Jean, is having an affair with an old friend of his, that his daughter, divorced single mother Katie, is going to marry a man he disapproves of, and that his son, Jamie, intends to bring his gay lover to the wedding. At this point his hypochondria becomes distinctly pathological. He attempts to excise the lesion himself with kitchen scissors and ends up in hospital.
Poet Leatha Kendrick is the author of two chapbooks, Science in Your Own Back Yard (see annotation) and Heart Cake. In this full-length collection she continues to examine themes explored in her first titles: love and loss; the fleeting of time; and her personal experience of breast cancer. Second Opinion is divided into three sections: the first two sections have 14 poems each, the final section has 13, perhaps to indicate that for this passionate and articulate poet the the final poem is yet to be written. The first poem in the collection, "A lesson in Love Unleashed," sets the theme for the poems that follow: "yes, I think, even in their distorted flesh, / I still desire what's gone. What I'm leaving" (p. 3). In the first and third sections, the poet writes of marital and familial trials and triumphs, both past and present, and in the second section--for me the most vivid in the collection--she writes about breast cancer and how this experience weaves in and out of her other loves and losses. This weaving is given both visual and emotional expression in the poem "Tonight Weaving" (p. 28)
Throughout the book, Kendrick's poems take varying forms and tones, and yet there is always the assurance of a constant voice--personal, passionate and often humorous. In the second section, the poems become more visually complex and fractured, poetic representation of the "distortion" of the flesh as the narrator considers the diagnosis and treatment of her breast cancer. In this section's opening poem, "The Calculus of a Cracked Cup," the poet writes, "Our position is never certain, only our / velocity" (p. 27), adding the concern of the swift passing of time to the collection's overall theme. In "Second Opinion," the title poem, she notes, "I want to believe in sudden remission, / in some way to avert what we are certainly / headed for" (p. 34). But while time rushes on, the reality of cancer, the loss of a breast becomes a "stopped surface" under which a "lost life" wants "its old course, not subject to IVs or a knife" (p. 35).
It is life--difficult and sweet--that is ultimately celebrated in these poems and that overcomes the losses. The most wry poems are found in the breast cancer section: "Christmas, Adolescence, Yin and Yang" (p. 32) is a sort of ode to "Skeeter and Bite," so named by a first love; now "they'll lift / one out, the eye sewn shut by mastectomy." "Costume. Fakery. The Sell." is a tough, nervy poem that has the narrator claiming acceptance for who she is, post surgery: "Alive! Tender, I'm not hiding" (p. 39). Throughout the book there is a subtle triple play on the word "tender": woman as caregiver; woman as collateral in a society that values cleavage; and woman as injured, post op, and physically vulnerable.
In the collection's final poem, "What You Leave Me," the theme of love and loss balanced against time comes to some resolution as the narrator and her partner join in a "sweet tangle": "the blossoming / hide, this bounded / time against brevity" (p. 64).
Summary:Cancer Vixen is the graphic narrative of Marisa Acocella Marchetto’s eleven-month cancer experience in 2004. Marchetto, a successful forty-something cartoonist for Glamour magazine and the New Yorker, serialized Cancer Vixen in Glamour while undergoing treatment. As well as the narrative of Marchetto’s diagnosis, treatment, and remission, Cancer Vixen recounts the story of Marchetto’s romance and engagement to restaurateur Silvano Marchetto, a narrative embedded in the graphic novel despite preceding it in actual chronology. The narrative explores fears about the cancer's effect on the relationship and about the loss of the chance to be a biological mother, as well as developing the relationship between the engaged couple and between Marisa and her mother (or "(s)mother," as she calls her).
Summary:The author's mission is to investigate, understand, explain, describe, and puzzle over the nature of phobias -- his own, and that of other sufferers. Allen Shawn is a composer, pianist, and teacher, and is a member of a gifted family: his brother, Wallace Shawn, is a playwright and actor; his father was William Shawn, for many years editor of the New Yorker Magazine. As a musician and academic, Allen Shawn is "successful." And yet, his life is severely limited by agoraphobia, "a restriction of activities brought about by a fear of having panic symptoms in situations in which one is far from help or escape is perceived to be difficult" (13). The author interweaves sections that summarize his extensive readings on the fight-flight reaction, evolution, brain and mind, Freud's theories on phobia--with his personal history, especially as he believes it relates to his phobia.
Summary:At dental school. Dave pursued Dana, the amazing and only woman in his class. Now married, they share a high quality private practice and raise their three little girls: Lizzie, Stephanie, and Leah. The ordinary chaos in the office and home of a professional couple is constant, though not insurmountable, and they enjoy the dental dramas of their patients, the childrens’ distinctive personalities, and the challenges of parenting. For example, two year-old Leah suddenly decides Dave is the centre of her universe, she shrieks when her previous favorite, Dana, comes near. The parents handle it together calmly without jealousy.
Summary:In summer 1962, virgins Edward Mayhew and Florence Ponting take their wedding supper in a hotel suite overlooking stony Chesil Beach on the Dorset coast. Married that afternoon, each is thinking of the bed in the next room. With only a little experience, Edward has waited patiently, but looks forward, enthusiasm mingled with apprehension over his performance. Florence however is revolted and even frightened by the thought of sex, but she does not dare to reveal her fears. They are both embarrassed by the hovering staff, and eventually leave the meal unfinished.