Showing 191 - 200 of 257 annotations contributed by Duffin, Jacalyn
Sam and her partner are getting ready to go out. She is due to have a baby soon, and they need to acquire just a few more items to complete the nursery and baby wardrobe. Sam wants a Forever Baby duvet, but realizes that it may be difficult because duvets are large and hard to conceal. Slowly it emerges that her trendy baby supplies are stolen.
Sam stops by the clinic where an assistant makes the mistake of asking if this is her first pregnancy. The glance from a colleague silences her, but Sam notices. She has no baby now but she remembers her little girl who "ought to have kept out of his way" although she was hiding in her duvet.
A child of a beautiful, talented woman and ambiguous paternity craves learning. Adopted by a Spanish officer and an "uncle" who is a painter, s/he is sent off to Edinburgh as a pedagogic experiment to become James Barry, a male medical student. Barry adores the vivacious Alice, an illiterate but intelligent servant, whom he teaches to read.
Later as a doctor and medical officer, he travels the world to the Crimea, to the Caribbean, to South Africa and America, a scion of society and a good scientist. By happy fortune, he lives in retirement with Alice, who has become a famous actress. The book ends with the scandalous revelation of Barry's femininity when his body is laid to rest.
Martha Hale and her husband are taken by the sheriff with his wife to the isolated home of the Wrights. Hale tells the authorities that on the previous morning he found Mr. Wright strangled to death. Mrs. Wright claimed not to know who killed him. She was arrested and awaiting charges.
Mrs. Hale and the sheriff's wife are to gather clothing and see to her preserves. The men mock women's "trifles" and jokingly caution them not to miss any clues, before they turn to their "more serious" work of finding a motive. In a basket of patches destined for a quilt, the women find a strangled canary. In quilt-like fragments, they piece together the difficult life of the third woman and decide to conceal the evidence that could incriminate her.
Argan, a fearful but miserly hypochondriac, divides his time between summoning the doctor to care for his ills and trying not to settle the resultant bills. He resolves to marry his daughter, Angélique, to a medical student, hoping to acquire unlimited access to gratis consultation. The chosen fiancé is an unattractive dolt, who would never interest Angélique, even if she were not already in love with clever, handsome Cléante, who poses as her music instructor.
Argan's wife, however, plans to send Angélique to a convent, removing her from the line inheritance. At the urging of the sensible servant Toinette, he feigns death to test his wife's affection only to discover her contempt. Again with the help of Toinette, the young lovers convince Argan to liberate himself from the twin tyrannies of his ailing body and his grasping physicians by becoming his own doctor. The play closes with the physicians' lively examination of Argan and his entry into the profession, full of musical pomp and pidgin Latin.
After seven years of research on children and adolescents diagnosed as "juvenile delinquents," psychiatrist Wertham concluded that crime comic books (mysteries, thrillers, horror, and police stories) are a harmful influence on young minds. In fourteen chapters, rife with the logic of comparison from the adult world, he analyzed the problem literature, its artwork, its advertising, and the so-called "educational messages" it contained.
Against the evidence of various "experts" and the champions of civil liberties, numerous anecdotes demonstrate how comic books glorify violent crime, link sexual love with physical abuse, permit illiteracy, and invite imitation. A series of vignettes demonstrates that violent child crime is on the rise and that actual crimes--even murder--have been connected to the reading of comics.
Wertham also provided statistics on comic book publishing, finances, and influence. A penultimate chapter is devoted to television. Emphasizing the public initiatives and legislative controls brought against American comics in other countries, such as Canada, Britain, Italy, Mexico, and Sweden, he demands action before yet another generation of youth is ruined.
In Edinburgh 1879, the famous actress Hermione Clery and her young lover are brutally murdered. A young man, Alan Lambert, stands accused of the crime, arrested after an expensive chase across the Atlantic. His brother, Graeme, appeals to Dr. Joseph Bell, professor of surgery and one of a dynasty in Scottish academic medicine. At first reluctant, Bell agrees to investigate the case and engages his medical student Arthur Conan Doyle in the task.
The story is told from Doyle's imperfect perspective. Beset by many obstacles from the police, the courts, and the Lambert family, Bell's investigation reveals a string of errors, including police sloppiness, suspicious evidence, and corruption in both government and law enforcement. On the day of the planned execution, Bell identifies the true killer and his motive, saving Lambert from wrongful death.
A philosopher and a clinical ethicist conduct an analysis of the practice of assisted suicide. They begin with the premise that health care providers may at times be assisting with suicide now, whether or not it is legal and whether or not the ethical dimensions have been solved. They contend that assisting a suicide might be morally right, but only when the patient’s choice is rational and free.
Referring to an earlier publication by Prado (Last Choice: Preemptive Suicide in Advanced Age, 1990; 2nd ed. 1998), they devote a chapter to each of three criteria used to determine the "rationality" of a choice for suicide, and another chapter to the "slippery slope" argument. A final chapter summarizes their contribution to this topic.
A year in the life of a group of interns in a big city hospital guided by the wise internist (Buddy Ebsen) and the irascible, woman-hating surgeon (Telly Savalas). Contortionist posturing designed to lead to desired residencies is the major theme. The only female intern, and the most brilliant of the lot, wants to be a surgeon, but she is repeatedly belittled by the surgical chief until he realizes--not that she is good--but that she is the sole support of a daughter.
Another intern falls in love with a young Asian patient and at her death resolves to work in her country. A crisis emerges around the overdose of a suicidal patient with syringomyelia; all the interns are held responsible until they rather brutally force a confession from the man's wife. Friends throughout medical school, Lou Worship (James MacArthur) and Sean Otis (Cliff Robertson) plan to become surgeons and open a clinic for the poor. Otis falls for a glamorous model, while Worship is smitten with obstetrics and a student nurse (Stephanie Powers).
Forsaking the original plan, Worship applies to obstetrics, pressures his fiancee to sacrifice her dream of an international career, and tells on Otis when he discovers that he is helping his girlfriend abort her unwanted child. His career ruined, Otis marries the irretrievably pregnant woman and expresses his admiration to Worship for doing the right thing.
Lawyer Mitchell Stephens (Ian Holm) comes to town preying on the grief of the citizens who have lost their children or seen them harmed when a school bus slid off the road and sank through a frozen lake. He encounters a network of secrets and distorted perceptions of blame, guilt, lies, and victimhood revealed by flashbacks. Grieving the loss of his challenged son, the sinister but simple motel keeper, Wendell (Maury Chaykin), warns Stephens off the case, blaming parents, children, drivers, and the road. He does not know that his wife has been sleeping in one of the vacant rooms with a good-looking widower whose son and daughter both drowned.
The Otto family, especially the mother (Arsinée Khanjian) are destroyed by the loss of their beloved adopted son, a smiling native child, called Bear. They are confused. On the one hand, they want nothing because their loss was accidental; on the other, they want vengeance because someone must be blamed for their overwhelming pain. The bus driver, Dolores, who has lost so many of "her kids" seems not to have grasped the full extent of the tragedy or the possibility that all could be blamed on her.
And yet it could. The crucial evidence is the speed at which she took the last downhill curve. The key witness is a teenager, Nicole (Sarah Polley), who sat just behind the driver and survived the accident as a paraplegic. Her father is eager for her to testify, hoping for a large settlement. It slowly emerges that his seemingly close relationship with Nicole before the accident was incestuous. Now she is seething with anger toward him--because of his past abuse? or because of his present abandonment? or both? She claims that Dolores was driving too fast. The case collapses. Stephens later sees Dolores driving a group of seniors.
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.