Showing 171 - 180 of 372 annotations tagged with the keyword "Mental Illness"
Summary:In the heart of New York City the narrator comes across a tall, Senegalese man "speaking to a piece of chalk." The man is "neatly dressed / in the remnants of two blue suits . . . " and regal in his bearing. The man’s language is French, and he speaks "so slowly and precisely" that the narrator, no longer young, is reminded of his high school French class. He is also reminded of writing his name on the blackboard after returning to school, following his father’s death. The man knows "the whole history of chalk"; he knows "what creatures had given / their spines to become the dust time / pressed into these perfect cones . . . " The narrator knows that they are both elderly men "sharing the final poem of chalk . . . " [58 lines]
The unrequited love of the narrator is compared to a devastating fever. Reason, "the physician," is ignored and cannot abate the disease. Without reason, madness (fever) reigns; and the poet renounces his beloved as "black as hell, as dark as night."
Miss Rosie is homeless, a street person surrounded by her foul-smelling possessions. She is not a stranger to the narrator, who has thought long and hard about her present circumstances and how she might have been long ago before she became a familiar sight in the neighborhood. Now reduced to rags, this "wet brown bag of a woman," says the narrator, once was "the best looking gal in Georgia." The narrator "stand[s] up" for her through her "destruction."
The spirit of St. Francis of Assisi presides over the garden in spring. Hyacinths bloom, and abandoned bird nests are tucked away in the nooks and crannies. Young couples embrace: "St. Francis forgive them / and all lovers / whoever they may be." The scene then fast forwards to summer, when the lovers find themselves bewildered and "incredulous / of their own cure / and half minded / to escape . . . "
The idyllic garden has turned menacing, yet St. Francis continues to have compassion for the lovers who "resemble children / roused from a long sleep." One lover stands up unafraid in the sunlight "as her heart / beats wildly / and her mind / drinks up / the full meaning / of it." [139 lines]
In their introduction to this anthology, the editors write that their goal is "to illustrate and to illuminate the many ways in which medicine and culture combine to shape our values and traditions." Using selections from important literary, philosophical, religious, and medical texts, as well as illustrations, they explore, from a historical perspective, the interactions between medicine and culture. The book is arranged in nine major topical areas: the human form divine, the body secularized, anatomy and destiny, psyche and soma, characteristics of healers, the contaminated and the pure, medical research, the social role of hospitals, and the cultural construction of pain, suffering, and death.
Within each section, a cluster of well-chosen (and often provocative) texts and drawings illuminate the topic. Specifically, literary selections include poems by W. D. Snodgrass ("An Envoi, Post-TURP"), William Wordsworth ("Goody Blake and Harry Gill: A True Story"), and Philip Larkin ("Aubade"); and prose or prose excerpts by Robert Burton ("The Anatomy of Melancholy"), Zora Neale Hurston (My Most Humiliating Jim Crow Experience), Sara Lawrence Lightfoot ("Balm in Gilead: Journey of a Healer"), William Styron (Darkness Visible: A Memoir of Madness), George Orwell ("How the Poor Die"), Ernest Hemingway (Indian Camp), and Paul Monette (Borrowed Time: An AIDS Memoir). (The full texts of the pieces by Hurston, Styron, Hemingway, and Monette have been annotated in this database.)
Helen McNulty (Laura Dern) is a reporter. She and her photographer boyfriend, Jan, are on assignment in an unnamed Central American country when they witness militia shooting at protesters. They are both arrested/abducted.
The story picks up a year later. Helen is back in the United States, working on a story about Dr. Anna Lenke (Vanessa Redgrave), a psychiatrist who runs a clinic for survivors of torture. Dr. Lenke herself was raped and tortured at Auschwitz. Helen interviews her, and goes to stay at the clinic to work on her story. Anna recognizes at once that Helen, too, has been tortured.
Helen gradually comes to acknowledge what happened to her. The process culminates in her narrating, and our seeing in flashback, her torture and the murder of her boyfriend. Helen’s recovery is intertwined with and complicated by the story of Tomas Ramirez (Raul Julia), who also identifies himself as a survivor of torture and is at the clinic not only for therapy but because he is in hiding. Helen and Thomas become friends, then lovers, and he is instrumental in her recovery.
As a journalist, though, Helen delves into Thomas’s background and learns that he was not a victim but a perpetrator of torture. Helen turns him over to the authorities and he is arrested. Dr. Lenke’s last words about Tomas, that only once he has confessed can he again be human, rings hollowly: he has already confessed, to her and the other torture survivors at the clinic, and no court of law can present a harsher judge.
Tuck Pendleton (Dennis Quaid) is an airforce pilot. His girlfriend, Lydia (Meg Ryan), leaves him because of his drinking problem. Tuck becomes involved in a top-secret project to miniaturize humans and inject them into the human body. Tuck is the first experimental subject; he is to travel, in a tiny pod, inside the body of a lab rabbit.
This is complicated when, once Tuck and his pod have been shrunk and placed in a syringe ready for injection, the film’s villains, led by the sinister Victor Scrimshaw, break into the laboratory and steal the microchip needed to restore Tuck to his normal size. A scientist escapes with the syringe containing Tuck. Iago, Scrimshaw’s henchman, chases him and, to keep the technology out of their hands, the scientist injects Tuck into Jack Tupper (Martin Short), who just happens to be nearby.
Jack is a hypochondriac who works at a supermarket checkout. When Tuck creates a computer link-up to Jack’s vision and hearing, and speaks to him, Jack believes he has been possessed; his physician suspects a psychiatric disorder. After much anxiety, Tuck explains things, enlisting Jack to track down the villains and get the stolen microchip from them. With Lydia’s help, they thwart the villains (and reduce them to half their normal size).
After journeying inside both Jack and Lydia’s bodies (he moves from one to the other when Jack kisses Lydia), Tuck is rescued and restored to his normal size. Tuck and Lydia reconcile and marry, and Jack, given new confidence by having Tuck within him (like a macho kind of internal inspirational tape), is cured of his hypochondria and anxiety and finds a new life for himself.
Summary:Life on the Line relates the experience of 228 writers who express in their work the deep connection between healing and words. Walker and Roffman have organized their anthology into eight topical chapters: Abuse, Death and Dying, Illness, Relationships, Memory, Rituals and Remedies, White Flags From Silent Camps, and a chapter of poems about the nuclear accident at Chernobyl. This hefty volume contains a very broad selection of contemporary poems, stories, and essays by both well-known and relatively unknown writers on the experience of illness and healing.
This is a harrowing story, told in the first person, of an obsession with food and body image. "One day I will be thin enough", says Josie, the 25 year old anorectic woman who has been hospitalized for life-threatening self-starvation. "Just the bones, . . . the pure, clear shape of me." "One day I will be pure consciousness." The narration spins out in painful detail the pattern of compulsive behavior which pervades Josie’s existence. Her pitifully barren emotional life is revealed as well.
How did it all begin? Flashbacks of significant events invade Josie’s attempts to stop thinking. A shy, awkward adolescent, overly sensitive to casual comments about excess flesh, decides to diet. Josie stumbles non-communicatively through a teen-age sexual initiation to a later affair with her married professor, retreating ever further from her bewildered family.
But why do events take such an extreme turn? The mystery of anorexia nervosa remains. In the hospital, a nurse who has seen everything seems to strike some responsive cord, and Josie begins eating to gain weight. At the end of the novel she’ll soon be released , under supervision, but the outcome is in doubt. "Can I learn to be so present? Can I learn to be so full?" ". . . if I were a body, what would I be?"
The narrator describes the disorientation felt as she attempted unsuccessfully to organize her thoughts. The "sequence [of thoughts] ravelled out of reach / Like balls upon a floor."