Showing 231 - 240 of 326 annotations tagged with the keyword "Marital Discord"
Frank Carveth (Art Hindle) has a wife, Nola (Samantha Eggar) who is mentally ill (the exact nature of her "breakdown" is never made clear, but it is implied that she was abused as a child). Nola is an in-patient at the Somafree Institute of Psychoplasmics run by Dr Hal Raglan (Oliver Reed). Raglan treats patients by engaging in intense role play encounters in which he takes the part either of parent or child to the patient.
The result of his approach is the somatization of emotional problems, his logic apparently being that allowing psychopathology to manifest in the (medically treatable) body liberates the less accessible psyche from illness or harmful emotions. So, for instance, a man with unresolved anger against his father develops sores all over his body during therapy. Their healing enacts his catharsis.
There are problems, however: another patient attributes his terminal cancer to Raglan's therapy, saying "psychoplasmics . . . encouraged my body to revolt against me and it did." Most terrifying of all is Nola's rage. It expresses itself in the form of strange buds that appear on her abdomen. These develop into external wombs, or amniotic sacs, from which she keeps giving birth to deformed and malevolent children.
These children, "the brood," literally enact her rage, escaping from Somafree to attack and kill anyone who is the object of Nola's anger, including both her parents and, eventually, Dr. Raglan himself. When the brood turns on Candy, Frank and Nola's actual daughter, Frank strangles his wife, and her evil offspring die with her.
Joe Rose, a popular science writer, and his partner Clarissa, a Keats scholar, are picnicking in the English countryside when an accident happens: a hot air balloon carrying a man and his grandson goes out of control. Five men, including Joe, run to help, holding onto the balloon's ropes; when a gust of wind lifts the balloon, four men, including Joe, let go but the fifth holds on, is lifted high in the air, and falls to his death.
One of the would-be rescuers, Jed Parry, becomes obsessed with Joe, and begins to stalk him, interpreting all rejections as veiled invitations. Jed wants both to convert Joe to charismatic Christianity and, it seems, to become his lover. Communication is impossible, the police are no help, and under the strain Clarissa and Joe's relationship comes apart. In a restaurant, someone at the next table is shot, making Joe realize that Jed is trying to kill him. After breaking into their apartment, threatening Clarissa at knifepoint, and then attempting suicide, Jed is arrested and committed to a psychiatric hospital.
In a subplot, the dead man's widow suffers a loss exacerbated by the belief that her husband had been having an affair. Joe learns the truth about the suspected affair and is able to reveal to the widow that her husband had been faithful after all.
The book ends with two appendices: an invented article from a British psychiatry journal presenting Jed's case, and a letter written to Joe by Jed three years later, still hospitalized, and still, deludedly, in love.
It is 1965. Graduate student, Adam Appleby (the name is significant), twenty-five years old and father of three, is terrified that his wife, Barbara, is pregnant again. He loves her and is faithful, but their commitment to Catholicism turns their sex life into a furtive obsession, encumbered with calendars, thermometers, and guilt.
This day in his life, like all others, is spent in the British Museum, researching an interminable thesis on 'the long sentence' in minor English writers. But Adam cannot concentrate for frustration, anxiety (over Barbara's delayed period), and financial despair. When a young descendant of a minor writer tries to seduce him in exchange for a steamy manuscript that could easily make his career, Adam discovers a shocking willingness to compromise on his principles.
Daughter of a wealthy businessman, tall, beautiful Emily Stockwell Turner falls out of love with her stolid professor husband, Holman, halfway through their first semester at a small college for men in northern New England. She is lonely and miserable in this remote place. Encouraged by her confidante and fellow faculty wife, Miranda, she embarks on a secret affair with the college musician, Will Thomas.
Divorced and sexually experienced, Will initiates Emmy into the powerful romance of physical love. But their on-again, off-again relationship is fraught by its own secrecy, Holman's jealous suspicions, Will's infidelities, Emmy's lies, Miranda's disingenuous disinterest, and the not-so-irrational hatred that Freddy, Emmy's four-year old son, bears Will.
Emmy and Will take ever greater risks with their clandestine encounters; eventually they admit to being truly in love and she decides to join him in his move to New York City. But Holman falls ill and nearly loses his contract position at the University when he tries to kill a student demonstrator whom he wrongly suspects of being Emmy's lover. Emmy postpones her departure indefinitely, because Holman "needs" her more.
At the height of campus unrest over Vietnam, Brian Tate, the conventional, politically moderate, foreign policy professor at Corinth (clearly Ithaca), has an office affair with his blonde graduate student, Wendy, but only after the vapid flower-child has pursued him relentlessly for months. Brian’s wife, Erica, learns of his infidelity when she reads Wendy’s ungrammatical but explicit letter.
Miserable at home with their two shockingly difficult adolescent children, Erica is unemployed because Brian disapproves of her working. She confronts him; Wendy apologizes to her; Brian lies; Wendy is forced to have an abortion; Brian moves out; Wendy moves in; Erica grows thin and ages prematurely. She takes up with an old friend who has become a wan new-age ’guru,’ but he is often impotent.
Wendy becomes pregnant again, terrifying Brian into believing he must marry her. But she spares him this punishment by moving to a California commune with Ralph, who, unlike Brian, does not care about biological origin of her child. Hoping to return, Brian visits Erica; she is expecting him with wary resignation.
Unmarried, fifty-four year-old Virginia Miner (Vinnie), a professor at Corinth who specializes in children's literature, is off to London for another research trip. Her work has been trashed by a Professor L. Zimmern of Columbia and she is hoping to produce an important new book about playground rhymes that will restore her reputation and confidence.
A 'pro' at long flights, her serenity is ruffled by her seatmate, a garrulous married man, Chuck Mumpson, of Tulsa who wishes to chat. She puts him off with difficulty. But the smoking and drinking Chuck is persistent. He could use help with a research trip of his own to trace his family history. Vinnie slowly becomes involved with his project, and then with him.
Meanwhile, her young colleague, Fred Turner, has left his wife, Roo, at home for his own sabbatical; they have quarreled. Soon, he consoles himself with the affections of Lady Rosemary Hadley. Quite by accident and with the encouragement of Chuck, Vinnie becomes an emissary for Fred's estranged wife in an improbable midnight walk on Hampstead Heath.
Just as she begins to think Chuck's affections have cooled, because of his silence of several days duration, she is visited by his daughter who describes his sudden death while climbing the stairs of a small town hall. When her publisher patronizes his memory, she realizes with surprise that he loved her and she loved him. She returns to her life in Corinth, solitary and unloved, but altered for having loved and been loved.
The narrator, Jeremy, orphaned at age 8, is attempting to write a memoir of his wife's parents, June and Bernard Tremaine. The pair married in England in 1946, idealistic young members of the British Communist Party, but on their honeymoon in France something happens to June that estranges her from her husband and his values forever. After the birth of their daughter, Jeremy's wife, the two live separately. June dies in a nursing home in 1987, after telling Jeremy a great deal about her life and marriage.
In 1989 Jeremy and Bernard travel to Germany together to share in the dismantling of the Berlin Wall. Bernard has taken a lot longer than his wife did to give up on communism. In Berlin, Jeremy hears his father-in-law's very different version of the couple's biography. Jeremy then travels to France to try and unearth the truth about their honeymoon, finding unreliable storytellers, poor memory, and, at the center, June's encounter in the French countryside with a pair of black dogs, owned and trained and then abandoned by the Gestapo. The story, as Jeremy reconstitutes it, is a discovery of evil that, regardless of literal factuality, bears a terrible truth about the human capacity to do harm, both personal and political.
The narrator, Latimer, begins the story with a vision of his death, which he attributes to a heart attack. He explains that, always sensitive after a childhood eye affliction and his mother's death, the further shock of a "severe illness" while at school in Geneva enabled him to see the future, and to hear others' thoughts--an experience which he describes as oppressive. He is fascinated by his brother's fiancée, Bertha, the only human whose thoughts are hidden from him, and whom he marries after his brother dies in a fall.
The marriage falters after Latimer eventually discerns Bertha's cold and manipulative nature through a temporary increase in his telepathy. When Latimer's childhood friend, the scientist Charles Meunier, performs an experimental transfusion between himself and Bertha's just-dead maid, the maid briefly revives and accuses Bertha of plotting to poison Latimer. Bertha moves out, and Latimer dies as foretold.
In the "free love" context of the nineteen-sixties, Harriet and David Lovatt are throwbacks to a more conservative, traditional, and family-oriented decade. Their life dream is to have a big house in the country filled with children, and it seems that they will succeed. After bearing four young children, however, Harriet is feeling the strain of years of childbearing, sleeplessness, money trouble, and her parents' and in-laws' disapproval of her fecundity.
Her fifth pregnancy is not only unplanned, but also unusually painful and disruptive. Harriet's doctor prescribes sedatives but finds nothing abnormal in her situation. When Ben is born, Harriet jokes that he is like "a troll or a goblin," but no one responds well to this unusually hairy and physically vigorous baby, who in turn does not respond to anything but his own desires and fears.
As he grows older, family pets and other children seem to be in physical danger. Health care professionals do not confirm the couple's conviction that Ben is not normal, but neither do they obstruct the decision to send Ben to a private institution, a removal that leaves the family temporarily happy until Harriet visits Ben and recognizes the institution for what it is, a place where all manner of "different" children are sent to live heavily medicated, physically restrained, and foreshortened lives away from families who do not want them.
Harriet brings Ben home, where he grows up amid what remains of the Lovatts' domestic fantasy, and finds community in a gang of thuggish older boys whom Harriet suspects are involved in various criminal acts. As the story closes, Ben has left home and Harriet imagines him in another country, "searching the faces in the crowd for another of his own kind" (133).
The narrator, Frank, an aging man with cataracts, heart murmur, and diabetes, reflects on the life he now lives with Francine, his wife. They have been together 46 years and time, he muses, "has made torments of our small differences and tolerance of our passions." They know little of one another’s daily lives; he doesn’t even know what conditions her array of pills on the breakfast table are meant to treat. Frank has taken to reading poetry.
Francine claims she has been hearing an intruder outside the window at night. She finds poems on the window sill. She is mystified and a little frightened. At her request Frank stays up all night one night to watch for the romantic intruder. Midway through that night he takes her for a walk in the frozen street. When they return to bed, aching from their respective debilities, he turns to her for the first time in recent memory, holds her, and kisses her as he used to, clinging to her fingers, "bone and tendon, fragile things," knowing he will die soon, and that life can still surprise him.