Showing 191 - 200 of 274 annotations tagged with the keyword "Suicide"
Molly Lane, restaurant critic and photographer, has died of a progressive neurological disease. She is survived by George, her husband, as well as by several past lovers, including Clive Linley, a famous composer, his old friend Vernon Halliday, editor of a London newspaper, and Julian Garmony, the British foreign secretary, rumored to be headed for Downing Street. After Molly's funeral, both Clive and Vernon experience odd neurological symptoms and make a mutual pact to help each other commit suicide in order to end suffering. The symptoms appear in both cases to have been psychosomatic, but the pact remains.
George has found career-destroying photographs of Julian Garmony (in drag) among Molly's things, and he gives them to Vernon for the newspaper. Vernon and Clive quarrel over the ethics of a decision each has made: Vernon's decision to publish the pictures, and over Clive's decision not to intervene when, while working on a crucial melody for his symphony during a walk in the country, he sees a woman being attacked by a man who turns out to be a serial rapist. When Vernon is fired and Clive's symphony is a failure, each blames the other and the suicide pact becomes a means of mutual revenge.
A subtext has been a running storyline in Vernon's paper about rumored abuse of the Netherlands's liberal euthanasia laws; the novel ends in Amsterdam, each man involuntarily euthanized by a physician paid by his friend. (Meantime, Garmony's career is in ruins. George has successfully destroyed all three of his wife's lovers.)
Dr. Constance Petersen (Ingrid Bergman) is a beautiful, unattached psychiatrist whose business-like facade fails to conceal a natural empathy that draws men. For her, however, love is a mere epi-phenomenon, easy to explain and resist, until she meets Dr. Edwardes (Gregory Peck). The famous expert on the guilt complex has arrived to replace the retiring chief (Leo Carroll). Constance is smitten, and so, it seems, is he.
But soon, she realizes that Edwardes is "not well," that he is terrified of dark lines on white: fork marks on a tablecloth; threads in her robe. Worse, she discovers that Edwardes is not, in fact, Edwardes, but an amnesic physician of initials "J. B." who is convinced that he has murdered his analyst. Constance does the right thing by having him removed from work, but she refuses to believe he is a murderer. Wanting to protect her, he leaves. But she, intent on curing her lover, follows him on a journey to retrace his last movements. The task is to recover both a memory and a missing person.
They go skiing (dark lines on white) at a resort where the real Dr. Edwardes had sojourned with his patient-colleague. On a dangerous slope, J. B. suddenly remembers that Edwardes went over the cliff. The body is found, but it has a bullet in the back.
Now hiding from the police, the couple pose as newlyweds and flee to her old mentor in Rochester. Complete with accent and beard, Dr. Brulov (Michael Chekhov) is a delightful double of the recently deceased Sigmund Freud (1858-1939). It emerges that John Ballantine (Peck) never lost his childhood feelings of guilt over the accidental death of his little brother.
In a gruesome ten-second flashback, the tyke is abruptly impaled on a iron-spike fence. This ancient guilt was reactivated by his doctor’s demise and it was sublimated by the defense mechanism of an assumed identity to keep the dead man alive. An idle slip of the tongue reveals the murderer to be the jealous retiree. The killer threatens Constance and then makes a quick end by dispatching himself instead.
In "Fortitude" Dr. Elbert Little, a Vermont family physician, visits the laboratory of Dr. Frankenstein and his trusty assistant, Dr. Tom Swift. Frankenstein has only one patient, Sylvia Lovejoy. His life work has been to keep Lovejoy alive. In 78 operations over the last 36 years, Frankenstein has replaced every one of her organs with prosthetic devices, so that now she consists of a head on a tripod, attached by tubes to various machines.
Frankenstein controls her mood, as he controls all her functions, from a "fantastically complicated" master console. Usually he makes sure that she feels joyful and loving, but last month a transistor went bad in one of the machines and she felt depressed for a while; so depressed, in fact, that she wrote to Dr. Little and asked him to bring her some cyanide.
Lovejoy's only friend is Gloria, the beautician who comes every day to care for her hair. Gloria is horrified over what Sylvia Lovejoy has become; she sees only a "spark" of the real person remaining, but she knows that the "spark" wants to die. After Frankenstein fires Gloria for speaking about death in Sylvia's presence, she sneaks back into the room when Sylvia is sleeping and puts a loaded revolver in her knitting bag.
Later, Sylvia finds the gun and tries to kill herself, but her prosthetic arms have been designed not to allow her to do that. Instead, she shoots Frankenstein, who promptly becomes the second head attached to the machines. (It seems he has designed all the prosthetic organs to be able to serve two "persons," so that he and Sylvia will be able to "live in such perfect harmony . . . that the gods themselves will tear out their hair in envy!")
The short story considers the final afternoon in the lives of Jeff and Jennie Patton, a frail elderly couple, who have spent their lives as poor sharecroppers, barely able to make ends meet for themselves and their children. While neither is seriously ill, the severities of farming and aging have guided them toward a mutual pact. Today they will put on their finest clothes and then, drive down the dirt road past their neighbors toward a cliff--and death.
The simple story is gripping as readers discover what this couple is about. While they have been defeated by their tight-fisted landlord and by age, their spirits are indomitable. With charm and pathos, the couple fulfills the pledge they made to one another when no other alternative seemed appropriate.
Philip Carey, the central character of this early 20th century Bildungsroman, is both an orphan and afflicted with a club foot. He is sent at age nine, after the death of his mother, to live with a childless uncle--a deeply religious Vicar--and his submissive aunt. They have no idea how to be parents, so send Philip away to a boys' boarding school where the child begins to learn what it means to be less than physically "perfect." The remainder of Philip's development is cast in this light.
He roams about looking for himself and his place--to Germany to learn languages, to London to learn a trade, to Paris to study art, and finally, as a last resort, a default decision to follow in the steps of his father the physician. A major part of Philip's maturation is based in making decisions about women and about sensual love. The most painful portions of his story are those that evolve around his stumbling and frequently failed attempts to find security in his personal relationships.
The Physician in Literature is an anthology edited and introduced by Norman Cousins that aims to illustrate the multiple ways in which doctors are portrayed in world literature. Literary selections are organized into 12 categories including Research and Serendipity, The Role of the Physician, Gods and Demons, Quacks and Clowns, Clinical Descriptions in Literature, Doctors and Students, The Practice, Women and Healing, Madness, Dying, The Patient, and An Enduring Tradition.
Some of the notable authors represented in this collection include Leo Tolstoy, Herman Melville, Albert Camus, William Shakespeare, Charles Dickens, George Bernard Shaw, Anton P. Chekhov, Orwell, Fyodor Mikhailovich Dostoevski, Ernest Hemingway, Thomas Mann, Gustave Flaubert, and Sir Arthur Conan Doyle. A healthy dose of William Carlos Williams makes for some of the most enjoyable reading ("The Use of Force" and excerpts from his Autobiography).
Helen Reed, a novelist, newly widowed, moves to the University of Gloucester for a semester to teach creative writing. There she meets Ralph Messenger, professor of cognitive science. Their relationship is set within a web of complex professional and family connections, most of which focus on variations of adultery. Everyone has a secret. Helen learns by reading the novel-in-progress of one of her students that the student had had an affair with her husband.
Ralph, awkwardly involved with a Czech grad student who is trying to blackmail him, is regularly unfaithful to his wife, who is in turn having an affair. Another scientist is addicted to on-line child pornography. Helen and Ralph eventually become lovers, until Ralph is found to have a lump on his liver (which later turns out not to be cancer) and then betrays Helen by reading her private journals. She then returns to London and he remains with his wife.
The editor, herself a writer and one who has suffered depressive episodes, collects a series of personal essays or illness narratives about experiences with depression. Her contributors are all artists, primarily writers, who generally but not exclusively speak to the relationship between their art and their mood disorders. Some of the essays included have been previously published, but most are original contributions to this collection. The collection is introduced by Kay Redfield Jamison whose academic work has examined the relationship between creativity and depression, including manic-depressive disease.
Adam and Seth Bede work as carpenters in the little village of Hayslope. Seth proposes to Dinah Morris, a gifted Methodist preacher, but she wants to devote herself to God's work. However, neither Dinah's faith nor her aunt Mrs. Poyser's sharp country truths can deflate the vain fancies of her pretty Hetty Sorrel (Mrs. Poyser's other niece). Although good Adam woos Hetty, she is distracted by the idle attentions of Captain Arthur Donnithorne, and when Adam finds out, he fights Arthur, who leaves town.
But when Hetty realizes she is pregnant, she runs away to see Arthur, only to find, arriving destitute after a difficult journey, that his regiment has been called away. Hetty restrains herself from suicide and gives birth in a lodging-house, then runs off with the infant and buries it in the brush, where it dies. After she is convicted for child-murder, Arthur finally hears the news, and Hetty's commuted sentence (transportation) saves her from the gallows. Two years later, Adam and Dinah realize they love each other, and they marry.
The novel opens with a man known only as Pilgrim hanging himself in London in 1912. Despite being pronounced dead by two physicians, he somehow lives. Pilgrim has attempted suicide many times before but is seemingly unable to die. He claims to have endured life for thousands of years but has tired of living and only longs for death. He has crossed paths with many historical figures including Leonardo da Vinci, Saint Teresa, Oscar Wilde, and Auguste Rodin.
After his most recent suicide attempt, he is admitted to a psychiatric facility in Zurich as a patient of the famous Swiss psychiatrist, Carl Jung. Pilgrim eventually escapes from the institution and masterminds the successful theft of the Mona Lisa from the Louvre. Next, he sets the cathedral at Chartres on fire. The novel ends with Pilgrim driving a car into a river on the eve of World War I. His body is never found.