Showing 21 - 30 of 228 annotations tagged with the keyword "Humor and Illness/Disability"
Summary:Perillo's essays offer a lively, variegated view from the wheelchair of a woman with multiple sclerosis who is also a naturalist, an outdoorswoman, a wife, and an award-winning writer. Not all of them focus on her condition, though observations about living with the disease occur in most, and are thematic to some. Most are also laced with wry humor. One comes to see in these sketches from the Pacific Northwest how full and rich a life it is possible to live while also fully acknowledging and even lamenting the loss of mobility. She invokes Thoreau several times, and her work may be easily situated in his tradition of personal, reflective essays on the natural world. For her, the natural world extends to the world of the body, linked as it is with the bodies of all living things.
The narrator of this novel, fifteen-year-old Christopher Boone, is autistic (or, more accurately, probably, has Asperger's Syndrome). He lives with his father and believes his mother died two years before. Christopher is extremely good at mathematics, seems to have a photographic memory, but does not like novels (other than detective stories, which are about observation and logic), because he cannot empathize with human emotions or make sense of the indirect or figurative. For Christopher, metaphors, like fictions, are lies. He is very fond of dogs, and hates to be touched by people.
When a neighbour's dog is killed, he decides to investigate and, with the encouragement of his teacher, to write a book about his investigation. He quickly makes some very disturbing discoveries. He learns that his mother is not dead after all, but living in London with the husband of the dead dog's owner. The fact that his father has lied to him devastates Christopher. He runs away to London to find his mother, and his courage and tenacity allow him to solve not only the mystery of the dog's death but that of his family's past and future.
Summary:Extraordinary Measures, based on events in the life of John Crowley and his family, dramatizes the father's quest to find a cure for Pompe disease, a relatively rare genetic condition that afflicts two of his three children. The quest brings into play three powerful, often competing human motives: a father's love for his children, a scientist's pursuit of knowledge and recognition, and a corporation's mandate for profits. Crowley (Brendan Fraser), an energetic marketing executive, and his wife Aileen (Keri Russell) are told that their children Megan (Meredith Droeger), age eight, and Patrick (Diego Velazquez), age six, have reached the upper limits of their life expectancies.
McMurphy (Jack Nicholson) escapes work on a prison farm by feigning mental illness, but he finds himself in a far more coercive institution than the one he left behind. The other men, both sane and insane, are just like him: they hide in the locked ward from the law, their families, or the despair of their own lives.
McMurphy animates the dull monotony with fractious games, pranks, and excursions, but he encounters stiff opposition from the head nurse, Mildred Ratched (Louise Fletcher), whose system provides her with pills and electroshock to maintain control. When the nurse discovers that McMurphy has smuggled two women into the ward, she threatens to tell the mother of young Billy (Brad Dourif). Billy commits suicide and an enraged McMurphy tries to strangle Ratched. McMurphy is lobotomized and returned to the ward only to be smothered by his friend Bromden, who then escapes.
Sixty-year old Martha DeClerq cares for her mentally disabled sister, Pauline (Dora van der Groen), in a small town between Brussels and the seaside. Pauline cannot feed herself, tie her shoes, or speak in full sentences; she is stubborn, loving, occasionally mischievous, and particularly devoted to her sister, Paulette (Ann Petersen), who owns a small, tidy shop in town. Cecile (Rosemarie Bergmans), the youngest sister, lives in Brussels with a French intellectual, Albert, and has little contact with her siblings.
When Martha dies, her will stipulates that her estate be split equally between the three sisters, only if Paulette and Cecile care for Pauline themselves. They agree to share Pauline’s care. Although the sisters are fond of Pauline, their relationship with her is awkward and tentative. Initially, Paulette brings Pauline home, and they negotiate the new living arrangements with a mixture of embarrassment and kindness, frustration and delight. When the burden of caring for her sister becomes overwhelming, Pauline is deposited in Brussels at Cecile’s tiny, meticulously kept apartment. When these arrangements become unworkable, Pauline is eventually institutionalized.
Summary:Driving-school instructor Marco (Marcello Mastroianni) feels unwell, especially in the mornings; his stomach swells, and he develops emotional lability. His wife, the hairdresser Irène (Catherine Deneuve), is sympathetic – but only to a point--and insists he seek help.
Edited by psychiatrist and poet Mark Bauer, this anthology collects poems about mental illness, broadly defined to include such topics as alcoholism and drug abuse, depression and melancholia, and post-traumatic experiences (with World War I's shell-shock and the Vietnam war's PTSD represented by Siegfried Sassoon, Ivor Gurney, and Wilfred Owen, and Yusuf Komunyakaa, respectively). Bauer provides an introductory essay, arranges the selections chronologically rather than thematically, and, in a welcome touch at the end, offers brief biographical sketches of the authors. A Mind Apart would form a nice companion piece to Poets on Prozac, edited by Richard Berlin
The represented poets are: Thomas Hoccleve, Charles d'Orleans, William Dunbar, Alexander Barclay, Fulke Greville, Thomas Lodge, William Shakespeare, Sir Henry Wotton, Sir John Davies, Robert Burton, John Fletcher and/or Thomas Middleton, Lady Mary Wroth, Robert Herrick, George Herbert, John Milton, Anne Bradstreet, Margaret Cavendish, Thomas Traherne, James Carkesse, Anne Finch, Edward Ward, Isaac Watts, Edward Young, William Harrison, Mary Barber, Matthew Green, William Collins, Thomas Mozeen, Christopher Smart, Thomas Warton, William Cowper, Robert Fergusson, Thomas Chatterton, John Codrington Bampfylde, William Blake, Robert Bloomfield, Samuel Taylor Coleridge, George Gordon (Lord Byron), Percy Bysshe Shelley, John Clare, John Keats, Thomas Haynes Bayly, Elizabeth Barrett Browning, Alfred Tennyson, Matthew Arnold, Sydney Dobell, Emily Dickinson, Henry Kendall, Thomas Hardy, Robert Bridges, Gerard Manley Hopkins, A. Mary F. Robinson, Ernest Dowson, Edward Thomas, Siegfried Sassoon, Ivor Gurney, Wilfred Owen, Edna St. Vincent Millay, Dorothy Parker, Louise Bogan, Hart Crane, (John Orley) Allen Tate, Richard David Comstock, Stanley Kunitz, Theodore Roethke, Elizabeth Bishop, J. V. Cunningham, Delmore Schwartz, John Berryman, Randall Jarrell, Weldon Kees, Dylan Thomas, Robert Lowell, Robert Edward Duncan, Howard Nemerov, Hayden Carruth, Philip Larkin, Anthony Hecht, Richard Hugo, James Schuyler, Donald Justice, Allen Ginsberg, Robert Bly, Wiley Clemens, Anne Sexton, Carl Wolfe Solomon, Ned O'Gorman, Stuart Z. Perkoff, Sylvia Plath, Lucille Clifton, Jim Harrison, Les Murray, Sharon Olds, Timothy Dekin, Quincy Troupe, Thomas P. Beresford, R. L. Barth, Jane Kenyon, Yusef Komunyakaa, Joseph Salemi, Aimee Grunberger, Jimmy Santiago Baca, Mark Jarman, Franz Wright, David Baker, Michael Lauchlan, Joe Bolton, Kelly Ann Malone, Brian Turner, Kevin Young, Jeff Holt, Ricky Cantor, Anne Stevenson, and several contributions that are anonymous, including some from nineteenth century popular songs and selections from two collections of poetry by people with mental illness.
Summary:I believe the best way to describe this partly autobiographical story is as an illness travelogue. Alexie prepares his reader for a strange journey by making the first stop his discovery of a dead cockroach in his suitcase. This allusion to The Metamorphosis works wonderfully well for the Kafkaesque remainder of the journey. His bodily journey moves from loss of hearing to possible meningioma to his doctor's proclamation that his "brain is beautiful." His existential/psychological/cultural journey, triggered by his bodily suffering, moves in multiple directions: to time spent with his dying father, his own experience with hydrocephalus, his grandfather's death in WWII, and his loving relationships with his children, wife and brother-in-law.
This film documents the quiet devastation of Alzheimer's disease from a daughter's perspective. Using home movie clips and up-close footage of conversations with her 84 year old mother (Doris Hoffmann), a skilled film maker/daughter (Deborah Hoffmann) provides a sustained and poignant documentary of Alzheimer's devastating ability to transform a vibrant and intelligent woman's life.
Interspersed with conversations that reveal her mother's disoriented recollections of the past and the glitches and confusion of daily life routines, home movies and other artifacts provide a contrasting impression of this woman's family and life then and now. Captions and clever title cards are used to organize events and to add gentle humor.
Frances Reid, the camera woman, is mentioned from time to time as someone known to both Deborah and Doris; eventually and without special emphasis, we learn that Frances and Deborah have a lesbian relationship and how Doris adjusted to the couple over the years.
The title refers to a Veteran’s Administration hospital regulation concerning the withholding of full medical benefits if an ailment is not specifically related to military service. In an oftentimes comic battle between the forces of good--physicians and vulnerable patients--and those of evil--the administrators and their minions--the story has currency and direct appeal to viewers.
The Darth-Vader-like administrators are self-serving, inhumane bureaucrats with emotions that run the gamut "from A to B" (Dorothy Parker). Physicians, especially the character played by Ray Liotta, but also his dedicated colleagues, are imaginative and non-rule abiding in their central concerns: the patients. They listen to stories and sympathize; in addition, they turf, lie, steal, and do whatever is necessary to protect, serve, and treat their patients. When the government denies a heart bypass, for example, the docs schedule prostate surgery for the official record and do, instead, the needed heart surgery.
At times, it’s as if the Marx Brothers or the Keystone Cops have donned white coats to sneak around the hospital with patient-centered antics. In the absurd bureaucracy, viewers, perforce, must cheer enthusiastically for the merry band of renegade docs.