Showing 171 - 180 of 387 annotations tagged with the keyword "Narrative as Method"
In this collection, Judith Arcana brings together her long-standing feminist activism, especially for reproductive health and abortion rights, and her gifts as a poet. Although Arcana's activism dates back to the early seventies, most of the poems in the book were written between 1998 and 2004. They draw from "the lives of women and girls I know or have simply encountered" (xi).
The collection is divided into four sections: "Separating argument from fact," "Information rarely offered," "Don't tell me you didn't know this," and "Here, in the heart of the country." Spoken in first, second, or third person, these poems evoke the myriad individual situations in which women of childbearing age become pregnant, and the trajectories their lives may take as a result.
The title of the collection derives from one of its poems ("What if your mother") and the related, immediately preceding poem, "My father tells me something, 1973" (6-7). Arguing back to those who confront her with, "What if your mother had an abortion? . . . they mean me," the speaker/poet answers, "then I say she did . . . . "What if, what if. / What's the point of asking this phony question?"
From the preceding poem, the reader has learned, along with the speaker listening to her father in 1973, that the poet's mother had an abortion in the Depression era, early in marriage. With this juxtaposition of poems we are introduced early in the book to the complexity of the issues surrounding pregnancy, parenthood, and abortion and to the timeline of a continuing national and personal debate. This complexity is the subject of the collection.
Sapphira was a fashionable young woman in Winchester when she married Henry Colbert, a man beneath her station, and moved to a rugged backwoods village, where they have lived for more than 30 years. Twenty of Sapphira's slaves came with them. This caused somewhat of a sensation among the poor, non-slave owning population of the region, where even to this day the Colberts are admired but not well-liked. Henry successfully took over the village grinding mill, while Sapphira assumed the role of local granddame. They had three daughters, all of whom married and moved away. However, Rachel's husband died, and she returned to Back Creek with her two young children.
Sapphira and Rachel are lay nurses who often visit and comfort the sick. Sapphira appears to do this work out of a sense of noblesse oblige, but Rachel feels empathy for the sick and less fortunate. She sets herself above nobody. Rachel is also an abolitionist at heart (as, to some extent, is her father), but Sapphira is firmly convinced that slavery is not only necessary, but also moral. Henry, a rather ineffectual male presence in this story, has responded to Sapphira's haughty regime by gradually withdrawing. In fact, he has largely abandoned the Big House to live at the mill, which he justifies by claiming the lack of a reliable foreman.
Sapphira suffers from severe dropsy. Her swelling is so bad she can no longer walk. She is jealous of a young slave named Nancy, with whom she believes Henry is having an affair. Much of the novel describes Sapphira's attempts to get rid of Nancy, first by selling the girl in Winchester, and later (when Henry refuses to sell) by importing her ne'r-do-well nephew to rape and destroy Nancy. This doesn't work either, primarily because Rachel takes Nancy under her wing and arranges her escape to Canada via the Underground Railroad.
David Rosen and Joel Weishaus are long-time friends, the former a psychiatrist, the latter a poet, teacher, and literary critic. Both authors have lived and traveled in Japan, and both are enamored of the haiku form. In this book, Rosen and Weishaus carry on the "renga" tradition of writing haiku as part of an on-going conversation, a call and response of commentary and haiku. Grouped into 53 two-page chapters, such as "Feeling Death," "Learning to Bow," "Eating," "Mother Ill, Mother Dead," "Tuscany," and "Turtle Wisdom," this conversation is enriched by the black and white illustrations of Arthur Okamura.
The comments and haiku range widely and deeply, reflecting the authors’ recognition of the possibility and need for healing, not only in human relationships but also with Nature. In part, this conversation is the authors’ quest to understand the "psychology, meaning, and healing value" of haiku (1), and to explore how poems might lead not necessarily to cure but to "becoming whole" (5).
The commentaries are open and transparent, interwoven as one poet picks up a word or image in his friend’s haiku and extends it, turning it over both in commentary and verse-for example, see the chapter "In the Flow" where the last line of Rosen’s haiku, "A river streaming back toward the sun," is used as the first line of Weishaus’s responsive commentary, one that transports the discussion from Japan to Africa (82-83). Often movingly honest, the poets discuss loneliness and death, their insights reflected in artist Okamura’s stark ink swirls (8-15). They examine their relationships with their fathers ("making Peace with One’s Father," 44-45), and they don’t shrink from humor ("Learning to bow," 34-35) or from sensuality ("Anima," 86-87). Their spiritual references range widely, from the Hebrew God to the Buddhist’s tribute to Nature (70-71).
The haiku are lovely, both strong and delicate, our appreciation of them enhanced by a review of haiku’s traditions in the Preface (1-5). Rather than try to describe the haiku (because, like all good haiku, these cannot be captured or retold and remain the same), I’ll present one haiku from each poet and hope readers will be compelled to seek out the book and read further.
David Rosen, on walking near his apartment in Mukaijima (40): Shimmering paddy-- / The slap of small feet nearing / Where dragonflies hover. Joel Weishaus, on September 11, 2002 (103): Sluggish creek-- / A shadow dips / And drinks.
Nisbett, a professor of psychology at the University of Michigan, argues that thinking is not universally the same, in time or around the globe. Specifically, Asians and Westerners vary in what they perceive, how they process it, and what action they might take. Nisbett has studied seminal figures such as Aristotle and Confucius, the geographical and social origins of Greece and China, and clues from the languages involved.
He explains a series of polarities, which can be quickly sketched (Eastern first/then Western): relationships/action, choice; feelings/logic; interdependence/independence; circularity, cycles/linearity; field dependence/divisible categories; harmony/debate; ground/figure; context/focal object; setting/outcome; and multiple causes/single cause and effect. Nisbett has also conducted experiments with students of Eastern and Western backgrounds to demonstrate that such differences are still real.
Finally, he argues that, with globalization, the two traditions will merge.
This is the first full-length collection by pediatrician and international health physician Roy Jacobstein. These 40 poems engage a wide range of topics, settings, and tones, but all demonstrate the same fine craftsmanship and strong voice.
Among the most engaging of Jacobstein’s poems are those dealing with memories of childhood and adolescence. Consider, for example: “Mr. Gardner in 10th grade told us there was no purpose / to mitochondria, only function.” (“Atomic Numbers,” p. 5). Or, “What transgression made fat Mr. Handler / drop his towel, his gloves, everything… to chase you from one end / of Fullerton to the other?” (“The Lesson,” p. 30) The poet displays a delightful sense of humor in pieces like “Bypass” (p. 36) and “Squid’s Sex Life Revealed in USA Today” (p. 59). Poems with explicit medical themes include “Pre-Med” (p. 6), “Admissions” (p. 8), and “What It Was” (p.11).
The story is told by a man living in "the drooling ward," part of a California mental institution. The narrator has been in the ward over 25 years; he helps feed and care for the others. He calls himself a "feeb"--feeble minded--but believes himself to be better than the droolers and certainly better than the stuck-up "epilecs" who though they seem normal throw such terrible fits. He feels as if he could get released from the hospital at any time, but he would rather stay. He tells of the two times he left the hospital. The first time, he was adopted by a couple that ran a ranch. He was forced to do many chores and the man beat him. He snuck off and returned to the home. The second time, he ran away with two "epilecs," but they were hungry and afraid of the dark so returned.
The narrator’s friend Douglas reads a memoir entrusted to him by his young sister’s governess when he was in college: to oblige a handsome bachelor, she agrees to care for his orphaned niece and nephew in a lonely country house. She becomes convinced that Flora and Miles (ages 8 and 10) are haunted by the evil spirits of their former governess, Miss Jessel, and a former valet, Quint.
The housekeeper, Mrs. Grose, tells the governess of the servants’ "corruption" and "contamination" of the children, Miss Jessel’s suspected pregnancy and mysterious death, and Quint’s fatal, drunken fall. The governess’s obsessive struggle with the ghosts over the children culminates in Flora’s descent into a fever and a climactic battle with Quint over the soul of Miles, who dies of heart failure even as the governess asserts her triumph.
Summary:Toward the end of the Spanish Civil War, Manuel’s biological father, Jorge de Son Major, dies, finally recognizing him in his will. His social father, Jose Taronji, had been killed only two years before. Manuel, newly rich but philosophically impoverished, seeks a secular spiritual father in "Jeza", an imprisoned rebel leader, and Jose’s comrade. When Jeza is killed, Manuel informs his wife, Marta, and together they plan a final revolt. They use Jorge de Son Major’s boat, Antinea, to deliver rebel documents, then make one final, "crazy," fatal stand, to honor and mourn Jeza, to remember and create themselves.
Summary:The author lists 173 twentieth century physician-writers, including both well-known and relatively obscure figures. The roster features each author’s dates, nationality, gender, year of medical degree, medical specialty, and his or her literary genre (fiction, poetry, drama, and non-fiction). The information about each author is documented by a reference to source material. The article also contains tables indicating (1) the percentage of physicians in the United States who were published physician-writers by decade from 1930 to the present; (2) a breakdown of physician-writers by medical specialty; and (3) literary genres by medical specialty.
An Australian man has recently been diagnosed as having a fatal disease. He decides to take a quixotic trip to Europe, an open-ended adventure to unplanned destinations. This novel takes the form of 20 long and extraordinarily articulate letters written from Venice to an anonymous correspondent in Melbourne.
The letters work on three levels. First, they describe the writer’s travels from Locarno to Vicenza to Padua, stages of his journey prior to arriving in Venice. In fact, the book is divided into groups of letters, each of them dealing with one of the three cities and followed by a set of notes that illuminate some of the writer’s literary and historical allusions.
Second, the letters describe the writer’s current activities in Venice and especially his reflections on human nature and mortality. Finally, he refers back to events that occurred in Melbourne immediately preceding his journey. The most important of these events are the consultations with his doctor and, to a lesser extent, the reaction of Peter, his lover, to the lethal diagnosis.