Showing 181 - 190 of 295 annotations tagged with the keyword "Obsession"
This is the fictional journal of four months in the life of Doctor Tyko Glas, a turn-of-the century Swedish physician, who writes, "How can it have come about that, out of all possible trades, I should have chosen the one which suits me least?" Though Doctor Glas is over 30 years old, he has "never been near a woman." In fact, he finds the physical aspects of sexual intercourse rather repulsive. Even more repulsive is his patient Rev. Gregorius, a nasty 57-year-old minister who happens to have a lovely young wife.
One day Mrs. Gregorius, also his patient, presents Doctor Glas with a strange request. Her husband's sexual advances have become onerous to her. Could the doctor tell him that she suffers from a pelvic disease and, therefore, must avoid sexual relations for several months? Doctor Glas agrees to do so, but the Rev. Gregorius is not easily put off. He believes that God has given married couples the duty to procreate, so sex is not simply a question of pleasure or preference. It is a question of duty. Thus, he rapes his wife, believing that their sacred marital duty is more important than her health.
Meanwhile, Mrs. Gregorius admits (to the doctor) that she has fallen in love with someone else, a handsome young businessman. As the summer progresses, it is clear that Doctor Glas has fallen in love with his patient, a love that is as tortured as it is silent and unrequited. Eventually Glas becomes convinced that he must save his patient from her repulsive husband's advances by murdering him.
Thus, the doctor carefully plans to poison the minister, using cyanide pills that he had once prepared for his own suicide. His plan is successful. The minister dies of an apparent "heart attack." Unfortunately, at around that time the handsome lover announces his engagement to another woman. The bereft Mrs. Gregorius, who sees nothing in the doctor, is left alone. Doctor Glas is also alone. "Life has passed me by," he ruminates.
As Dickens does so well, the writer treats the reader to a wide spectrum of the society of London in the 19th Century. The central issue in this novel is the hopeless slowness with which the court of Chancery moves, and the persons who are involved, either as claimants, as attorneys, or as those at the edges of the Court who seek to profit by the proceedings. The author gives us examples of the consistent behaviors of the very good (Esther Summerson and her guardian John Jarndyce) and the profoundly evil (Mr. Smallweed and Mr. Tulkinghorn) and a vast spread between these extremes.
The story is constructed somewhat as a mystery, as multiple connections among the myriad of characters are slowly revealed as the plot advances. The reader is allowed a view of the most poverty-stricken, as well as the most wealthy of the levels of society presented. The complexity of the characterizations and their intertwined lives, along with Dickens’s amazing descriptions, keep the reader moving through the tangle to its final resolution.
The film opens with a bird's-eye sweep over the frieze of a post-engagement battlefield--mud, strewn with bodies and shards of machinery, all iron grey and relieved only by rare patches of crimson blood. Psychiatrist William Rivers (Jonathan Pryce) treats shell-shocked soldiers in the converted Craiglockhart Manor. He is obliged to admit the poet and decorated war hero, Siegfried Sassoon (James Wilby), because his military superiors prefer to label the much-loved Sassoon's public criticism of the war as insanity rather than treason. Rivers is supposed to "cure" the very sane poet of his anti-war sentiments.
At the hospital, Sassoon meets another poet, Wilfred Owen (Stuart Bunce), equally horrified by the war although he, like Sassoon, believes himself not to be a pacifist. A secondary plot is devoted to the mute officer Billy Pryor (Jonny Lee Miller) who recovers his speech, his memories, and a small portion of his self-respect through the patience of his doctor and his lover, Sarah (Tanya Allen). Vignettes of other personal horrors and the brutal psychological wounds they have caused are presented with riveting flashbacks to the ugly trenches. Sassoon, Owen, and Pryor return to active service. The film closes with a dismal scene of Owen's dead body lying in a trench.
The framing story of this novel is simple: an elderly literary agent receives word that a person named Yvonne Bloomberg would like to meet with him. When he at last visits the woman, he discovers that she was an acquaintance from their youth--Yvonne Roberts--and she wishes to publish the journal that a mutual acquaintance, Dr. Simmonds, had bequeathed her. The agent agrees to read this journal, which provides most of the novel's text. A series of letters that appear in the last few pages indicate that, indeed, the journal is accepted for publication.
The journal recounts the first six months of 1950. Dr. Simmonds is an unmarried general practitioner nearing his 40th birthday. He has mixed feelings about his practice and his patients. For example, he likes Michael Butler, an irascible middle-aged man dying of cancer, but he dislikes many of his other patients, including Anton Bloomberg, a repulsive Jew with a "hooked nose," "too thick lips," and a "wheezing chest." (p. 25)
Bloomberg originally consults Simmonds about his young wife's frigidity; she simply will not perform her wifely duties. Simmonds himself is attracted to Bloomberg's beautiful young Yvonne, who mysteriously sends him a copy of a novel called Doctor Glas, published in 1905 by the Swedish author Hjalmar Soderberg [see annotation in this database]. Dr. Glas is the fictional journal of a doctor who treats Rev. Gregorius, a 57-year-old minister and his young wife. The wife complains that her husband's sexual advances are repulsive. From this point on, the story of Dr. Simmonds parallels in many ways that of Dr. Glas, a parallelism which Simmonds records in his journal and struggles to understand. Dr. Glas ultimately murders Rev. Gregorius.
Simmonds becomes obsessed with Yvonne Bloomberg and imagines that she is attracted to him. They interact in a variety of social settings, including a forum in which he suggests that he approves of euthanasia. She speaks to him of her husband's unwelcome advances. He considers killing her husband under the guise of treating his asthma, but shies away from taking that step. However, when Anton Bloomberg fails to respond to repeated injections of adrenalin during a severe asthmatic attack, Simmonds gives him morphine (which could kill him), then immediately relents and calls for an ambulance. Bloomberg recovers, but is permanently brain damaged.
Subsequently, Yvonne is free to spend the next 50 years living with her real lover (Hugh Fisher), and the two of them take care of her childlike husband. Simmonds, however, sinks into melancholy and several years later commits suicide.
In this tightly organized study of the relationship between creativity and manic-depressive disease and its variants, the author asks and attempts to address some interesting questions. Is there sufficient evidence in the histories of well-known artists and their families to demonstrate a genetic linking of creativity and depressive disorders? Are there phases in classic bipolar cycles that are particularly conducive to bursts of, or sustained, creative productivity? Does treatment (be it chemical or psychotherapeutic) of his or her psychiatric symptoms blunt the ability of the artist to work successfully?
In an attempt to answer these and other intriguing questions, Jamison explores in some detail the personal, family and creative histories of writers long suspected of being depressed with or without alcohol or having periods of mania. She opens by defining for the novice the parameters of the disorders in question, examines some of her subjects' family history of "madness," and discusses evidence for relationships among the waxing and waning of depressive disorders and creative productivity.
The story is told of Byelikov, "the man in a case." Byelikov, the Greek teacher at a provincial school, was extraordinarily orderly both in his personal and professional lives. A strict disciplinarian, he never made exceptions to the rules. He always did things the proper way, determined to avoid even the appearance of impropriety.
Although he and his colleagues had nothing to speak about, he would regularly visit each one of them because it was the accepted thing to do. Every time something slightly irregular came up, Byelikov would cry, "Oh, how I hope it doesn't reach the ears of the authorities!" Naturally, the other teachers hated him.
At one point, Byelikov became enamored of Varinka, the sister of Kovalenko, a new teacher at the school. Everyone encouraged this relationship, hoping that marriage would moderate Byelikov. However, someone drew a humorous caricature of Byelikov and Varinka.
Then, Byelikov saw Varinka and her brother bicycling in the park. Outraged, Byelikov went to the brother to complain about this scandalous behavior, but Kovalenko pushed him down the steps. Byelikov than became depressed, took to his bed, and died, thereby truly becoming a man in a box (i.e. a coffin).
Seventeen year old Volodya and his mother visit the home of their wealthy acquaintances, the Shumihins. Everyone teases the awkward and shy young man. Volodya is infatuated with Nyuta, the Shumihins' cousin, a married woman of 30 "with rosy cheeks, plump shoulders, a plump round chin, and a continual smile on her thin lips." Volodya encounters her as she returns through the garden from bathing. She teases him to speak. Finally, he blurts out, "I love you" and grasps her around the waist. She laughs and frees herself.
Later, Volodya hears Nyuta and his mother laughing about the incident. He remains at the house overnight and has another encounter with Nyuta, this time in her room. When Volodya and his mother return home, he goes to his room, puts the muzzle of a revolver in his mouth, and kills himself.
The story takes place on a steamer bound for Sebastopol, where the narrator meets Ivan Ilych Shamokhin, who tells the story of his helpless love for Ariadne. She was his neighbor, a beautiful but cold young woman, "a nightingale made of metal," who challenged him to fall in love with her. When Shamokhin refused to elope with her, she eloped with Lubkov, a married man with four children.
Months later, Ariadne wrote again to Shamokhin, begging him to join her in Abbazzia. When Shamokhin finally caved in and went to her, he discovered that Ariadne and Lubkov were lovers. A year later, Lubkov had used up all his money and returned to his wife. Shamokhin then became Ariadne's lover. Now his money is almost gone and his life is destroyed, but he feels helpless to leave her.
Lieutenant General von Rabbek hosts a party for members of the regiment in his magnificent home. Of all the attendees, the most awkward is Ryabovitch, "a little officer in spectacles, with sloping shoulders and whiskers like a lynx's." He considers himself the shyest, most undistinguished officer in the whole brigade. While wondering through the mansion, trying to avoid talking to people, he stumbles into a dark room, whereupon a woman rushes up to him, whispering, "At last!" She throws her arms around his neck and kisses him. At once, however, she realizes her mistake, runs from the room, and is lost in the crowd.
Ryabovitch's passion awakes! He feels that his life is beginning anew. For the rest of the evening, he searches in vain for the woman who kissed him. The next day his regiment departs for another area, but some time later, when he returns to the same town, Ryabovitch continues his obsession with the kiss he experienced that night, and still hopes to discover who the woman in the dark room was.
If only he could communicate with General von Rabbek--but no, Rabbek doesn't respond. In the end he stands on the riverbank: "Now that he expected nothing, the incident of the kiss, his impatience, his vague hopes and disappointment, presented themselves in a clear light . . . And the whole world, the whole of life, seemed to Ryabovitch an unintelligible, aimless jest . . . "
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.