Showing 201 - 210 of 381 annotations tagged with the keyword "Narrative as Method"
In this first person narrative, Dr. Edward Haggard addresses his story to James, the son of his former lover Fanny Vaughn. Haggard, once a surgical registrar at a major hospital in London, has isolated himself in a coastal town, where he serves as a general practitioner. The "present" of Dr. Haggard’s story is the early stages of World War II, when James Vaughn, a Royal Air Force pilot, lies dying in Edward Haggard’s arms.
The story’s "past" has multiple dimensions. The outermost, framing story recounts the relationship between James and Edward that began several months before the war and a year or so following Fanny Vaughn’s death from kidney disease. James sought out the reclusive Dr. Haggard to discover the "truth" about Haggard’s relationship with his mother.
The inner story consists of Haggard’s description of his reckless and passionate love affair with Fanny, an ultimately hopeless liaison between a young registrar and the wife of the hospital’s senior pathologist. Their few brief months of happiness ended when Dr. Vaughn learned of the affair, and Fanny made the realistic choice to remain with her husband and adolescent son. In a confrontation between the two men, Vaughn knocked Haggard to the floor, causing a leg injury that resulted in chronic pain and permanent disability.
Haggard resigned from the hospital and withdrew to a solitary life, in which "Spike" (the name he gives to his deformed and painful leg) is his only companion. He must constantly "feed" Spike with intravenous morphine to quell the emotional, as well as physical, pain. The situation only worsens when Haggard learns of Fanny’s death from kidney failure.
The obsession worsens further still after James Vaughn shows up at his door. As Haggard treats the young pilot for a minor wound (he has become the local RAF surgeon), he notices that James has a feminized body habitus--gynecomastia, lack of body hair, broad hips, narrow shoulders, and pre-pubertal penis. He interprets this as "a pituitary disorder" and attempts to convince James that he needs treatment. James is repulsed by these advances, which eventually escalate.
The full title of this novel is "Doctor Faustus: The Life of the German Composer Adrian Leverkühn as Told by a Friend." Mann wrote it during the latter part of World War II when he was living in exile in the United States. The Faust character in this story is a German composer named Adrian Leverkühn (1885-1940), whose biography is recounted by his childhood friend, a schoolmaster named Serenus Zeitblom. Zeitblom presents the tale in his own voice--in essence, the novel is an extended reflection on the composer’s life (the past) set into the context of the deteriorating military situation in Germany (the present) as he is writing; i.e. the same period that Mann is actually writing the novel.
Adrian Leverkühn starts out as a student of theology, but succumbs to his passion for musical composition. His early pieces, though technically skillful, lack energy and imagination. However, all this changes when the young man experiences himself as having made a pact with the devil. In a confession written years later, Adrian recounts that he "voluntarily" contracted syphilis in an encounter with a prostitute, an episode that he believed was emblematic of this Faustian bargain.
In the confession he recreates his dialog with Satan, who promises the composer an artistic breakthrough, if he agrees to forego human love. As a result of the pact, Leverkühn sets off on a brilliant 24-year career, becoming the greatest German composer of his time. Throughout the novel Serenus intersperses technical details of Leverkühn’s many compositions, culminating with his masterwork, an oratorio called "The Lamentation of Doctor Faustus."
Adrian Leverkühn had been a self-centered youth who failed to reciprocate the friendship and devotion that others, especially Serenus, had lavished upon him. As an adult he leads an austere, solitary, monk-like life. Yet, while he lives only for his music, he also yearns for love. His personal life consists of a series of aborted relationships. Leverkühn becomes attracted to a female acquaintance and asks a friend to court her for him, only to learn that she has fallen in love with the friend.
Toward the end of his career, Adrian’s 5-year-old nephew comes to live with him in the country. The nephew ignites in him another spark of love, only to be snuffed out when the boy suddenly dies of meningitis. Finally, just as he is in the process of "unveiling" his great composition to a select group of friends, Leverkühn experiences a "stroke" and lapses into a coma from which he recovers physically, but not mentally. He survives for another decade in a demented, childlike state, and cared for by his mother.
The larger theme of this somber work relates to the decline of German culture during the decades before the onset of the Nazi era. Mann explores the collapse of traditional humanism and its replacement by a mixture of sophisticated nihilism and barbaric primitivism. In "The Story of a Novel" (1949),
Mann wrote that "Dr. Faustus" was about "the flight from the difficulties of a cultural crisis into the pact with the devil; the craving of a proud mind, threatened by sterility, for an unblocking of inhibitions at any cost; and the parallel between pernicious euphoria ending in collapse with the nationalistic frenzy of Fascism." In Zeitblum’s narrative comments, Mann subtly relates the composer’s personal tragedy to Germany’s destruction in the war. Mann also claimed a "secret identity" between himself, Leverkühn, and Zeitblom.
Summary:Subtitled, "Essays from a Cancer Limbo Time," this collection of essays constitutes a memoir of living while dying. It was written during the time following the author’s acute treatment for Stage IV lung cancer, when she felt well enough to write--a period of approximately one year during which she was still taking oral anticancer medication. Based on journal entries and memory, Cumming reflects on what it is like to be in a state of "recovery" while at the same time, and variably, anticipating death. "I knew that my kind of cancer was not curable, and yet, for a spell, it seemed to have vanished" (xvi). How does one go about living in the face of "a very good partial response" to treatment?
Summary:This complex novel is difficult to summarize. The main characters are introduced separately. We meet Yurii Andreievich Zhivago (Yura) when he is ten, at his mother’s funeral. He goes on to study medicine, write poetry, and marry a young woman named Tonya. We first encounter Larisa Foedorovna (Lara) as the adolescent daughter of a widow who has been set up in a dressmaking business by Komarovsky. Komarovsky later harasses and seduces the young woman. In her anger and guilt, the impulsive Lara tries to shoot Komarovsky at a grand Christmas party, but she misses and inadvertently wounds another man. Subsequently, Lara marries Pavel Pavlovich (Pasha), her childhood sweetheart.
Mackay’s story begins in the 1940s when, at age 5, he was sent to a "boarding school" run by the Catholic order of the Pauline Brothers. Mackay’s mother had herself been institutionalized for paranoid schizophrenia and his father was not in the picture. In the school Mackay was exposed to pervasive violence: "intramural" violence wherein the stronger children taunted and beat up the weaker ones; classroom violence in which the instructors slapped or beat with a razor strop those boys they deemed to be errant in any respect; organized boxing matches; and, most feared, "statutory evening punishment" where students had been selected out by a Brother to be humiliated and beaten after the evening meal and prayers. The latter violence was characterized by "the absence of mercy" and a sadistic ritualism that induced "sick-making terror" in its victims.
We follow Mackay through additional episodes of violence as he progresses through delinquent adolescence--now living in a welfare hotel with his mother--through a stint in the Navy, marriage and fatherhood, and, finally, to an episode in the New York City subway that is the crisis point of the story. In the Navy he is once again victimized by a drill instructor who humiliates Mackay into losing the "instinctive cringe" he had developed during his years at the institution.
Mackay reads in the newspaper that an old buddy--"they had suffered shame and pain together that could never be explained to anyone (38)"--has been murdered in the subway while coming to a woman’s aid. Mackay is terribly troubled by this incident, not only because of the earlier close relationship, but also because he finds himself intrigued by the story. A year later, Mackay is in a similar situation--in his presence, a well dressed but deranged man is threatening a woman in a subway station.
In "About Love," two friends who were caught in a storm while out walking have sought shelter in a third friend's country home. They stayed the night and at lunch the next day their host, Alehin, tells them a story about his lost love. It seems that when he was young, he worked closely with Luganovitch, the vice-president of the circuit court, and became close friends with Luganovitch and his beautiful wife Anna Alexyevna.
Over the years, Alehin and Anna spent a great deal of time together; he fell passionately in love with her and felt confident that she reciprocated his feelings. Yet, they never acted on their passion. At last, after many years, when Anna was setting out on the train to join her husband, who had been transferred to a distant province, Alehin took her into his arms and proclaimed his love. They collapsed in tears. But alas, the train left: "I kissed her for the last time, pressed her hand, and parted forever."
The Canadian narrator, Marie, is in a Paris archive, reading and translating excerpts from the diary of the Jewish mother of Marcel Proust. The entries cover the period from 1890 to 1905. Mme. Proust and her physician husband make excuses for their son's lax behavior, and they worry over his chronic asthma, his social agenda, his apparent lack of interest in women, and his risky future as a writer. Like the entire country, the Proust family divides over the anti-Semitic Dreyfus affair. Later, Mme. Proust writes of her own illness with cancer.
Nearly half a century later, young Sophie Bensimon is sent to safety in Canada from France by her Jewish parents who were never heard from again. In reaction to this loss, Sophie walls herself from emotional expression. Her childless, adoptive parents, the Plots, have difficulty understanding her return to France to search for evidence of her birth parents' demise. She too must cope with archives, papers, and bureaucracy, but she discovers some details of their fate at Auschwitz. She marries a doctor, keeps a kosher kitchen, and worries over every minor event in the life of her son, Max.
As Marie struggles against a pressing deadline to research and translate without reinterpretation, she is aware that her choices will inevitably skew her findings. With this work, she imposes herself, her tastes and her needs on another woman's past. And she remembers her passionate love for Max whose genuine fondness for her finds no sexual expression because he, like Marcel Proust, prefers men.
This documentary, narrated alternately by the daughter-filmmaker and mother whose stories it tells, focuses on how two women move apart and together while experiencing, respectively, adolescence and mid-life. The mother has cancer, a mastectomy, and then rheumatoid arthritis, and these experiences intertwine thematically and structurally with the narrative of the mother-daughter relationship.
Another provocative juxtaposition cross-cuts scenes from the daughter's modeling career (and the social and erotic body that context constructs for her) with scenes of the mother's illness, stigmatization, and erotic daydreams. Both women come to a new awareness of the social meaning of mastectomy within heterosexual and same-sex contexts by the documentary's end; they also come to a place of recognition of the mother's personal and social value and the nature of their relationship.
Three novellas by a master storyteller. For the title story, see the separate entry in this database (Epiphany). "Harmony Ain't Easy" is a tale in which Dr. and Mrs. Sams (he retains his own name here) get stranded when their car is disabled on a country road, thanks to Dr. Sams's bull-headedness. After a warmly humorous series of reverses, they are finally saved.
In the last story, "Relative and Absolute," aged Mr. McEachern is approached by three high school students who want to interview him for their oral history project. They ask him questions about living conditions and race relations in their county when he was young. During the series of interviews, as he tells them anecdote after anecdote heavy with homey wisdom, the old man and the adolescents learn to like and respect each other.
The story consists of a series of Dr. Mark Goddard's dictated office notes regarding the care of his patient Gregry McHune, interspersed with the narrator's description of these physician-patient interactions. McHune first presents as a standard case of high blood pressure; however, in subsequent visits the man tells his harrowing story.
Goddard learns that his patient was unjustly jailed for killing a black man in self-defense. McHune tells him about racism in the penitentiary and his fight for survival, both in prison and later. Eventually McHune and his family are hounded out of town by the son of the man he killed.
Through all these losses, McHune maintains his sense of humor and easy-going integrity. Meanwhile, the elderly Dr. Goddard is repeatedly harrangued by the clinic administrator (a vacuous young man) for including extraneous details and poetic language in his dictations. As time goes on, and he is transformed by his relationship with McHune, Goddard includes more and more poetry in his office notes.