Showing 241 - 250 of 325 annotations tagged with the keyword "Marital Discord"
The story begins in London as Lilia, the young widow of Charles Herriton departs for an extended tour of Italy, taking with her a companion (Caroline Abbott), who is supposed to keep her our of trouble. Lilia leaves her 8-year-old daughter Irma home with the Herritons. The Herritons are a snobbish upper middle class family ruled by an iron-willed matriarch, who has never approved of her daughter-in-law's unassuming and spontaneous nature.
The trouble begins when word arrives from the small town of Monteriano that Lilia has gotten engaged to an Italian man. Mrs. Herriton sends her son Philip to buy off the "wretched Italian" and bring Lilia home. But he arrives too late. The 32-year-old Lilia has already married Gino Carella, who is the unemployed son of a dentist and a decade younger than she is. Gino is charming and seems guileless, although he has no intention of adopting an English attitude toward marriage. Indeed, he has married Lilia for her money and expects her to become a proper Italian wife.
Later, Lilia dies in childbirth, but the baby survives. At first the Herritons intend to sever contact and not acknowledge the child. However, nudged by Miss Abbott, the unsuccessful chaperone, they decide to "save" the child from becoming an Italian. Once again, Philip goes to Italy to buy off Gino and bring the boy to England. Once again, he fails.
But this time, his aggressive sister Harriet intervenes; when all else fails, she steals the baby. Unfortunately, a mishap occurs, and the baby dies. Meanwhile, Philip has fallen in love with Miss Abbott who, in turn, has fallen for the recently remarried Gino. In the end it looks like Phillip and Miss Abbott will become "just good friends."
Summary:Carol White (Julianne Moore), an upper-middle-class Los Angeles housewife, is stricken with a mysterious illness that her doctor cannot diagnose or explain. He believes her illness to be psychosomatic, but Carol, through contact with a support group, realizes she has "environmental illness," an immune disorder that causes her to physically overreact to common chemicals, fumes, and environmental pollutants. The film follows her journey to a clinic in New Mexico in search of relief from her increasingly debilitating symptoms.
Andy Safian (Bill Pullman), an English professor, and his wife Tracy (Nicole Kidman), recently married, have bought a new house. Short of money, they take in a lodger, Dr. Jed Hill (Alec Baldwin), a surgeon who went to high school with Andy. Tracy suffers from mysterious abdominal pains and then has to have emergency surgery when an ovarian cyst ruptures. Jed Hill performs the surgery. He finds that her other ovary appears necrotic and removes it. It later turns out to have been healthy.
Tracy sues for malpractice and receives a huge settlement. She then leaves her husband, who gradually realizes that she and the surgeon had been lovers and that he has been the victim of their complex con game: she has sacrificed her fertility and Dr. Hill his career in exchange for the millions of dollars paid out by the hospital's insurance company. Andy sets about seeking revenge.
This story is claimed by its narrator to be a chapter in his biography of the Russian writer, Nikolai Gogol. He begins by saying he knows some intimate details of Gogol's life and that as his biographer he feels obligated to reveal them, though as his friend he might have kept all this to himself.
After setting the reader up for some perhaps prurient "facts," the narrator tells us that Gogol's wife was a life-sized balloon, anatomically correct and quite voluptuous. Claiming to be the only person besides Gogol who has ever seen this creation, the narrator goes on to tell us an occasion where he heard her speak. He describes how she developed her own personality, in spite of the fact that she was a balloon, and that she even contracted syphilis, which subsequently infected Gogol.
The narrator and Gogol are celebrating the silver anniversary of Gogol and his wife when the novelist gets insanely irritated with her, inserts a bicycle pump into her, and inflates her until she explodes. Gogol then throws the rubber pieces into the fire (much as he had burned his manuscripts earlier). He also throws into the fire a balloon baby boy. The story closes with the narrator again defending his position of biographer, providing the truth about Gogol to the reader.
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.
In this collection, twenty-two authors take up the subject of wanting a baby and what happens to one's self-image and marriage/relationship when difficulties arise. All the contributors are accomplished writers--e.g. Amy Hempel, Michael Bérubé, Tama Janowitz--who tell stories of the miracles, disapppointments and sometimes horrors of the various reproductive technologies; the experience of childlessness when one/a couple desperately wants one; the joys of "success" via technology or adoption; what happens when every method fails.
Narrated in the first person, the transforming events of Peter's life as a 15 year old are told years later. The opening paragraphs set the scene: "the older brother who went off to school" leaving "the brilliant . . . mother . . . bereft"; the father, "son of a bankrupt Hudson Valley apple grower"; "the darkening drift and dismay of my parents." Into this family unease steps the local veterinarian, Dr. Mason, whom Peter assists during after-school hours, and who is a sometime dinner guest in his parents' home.
Dr. Mason not only tries to persuade Peter to go into a medical profession, ignoring Peter's interests (writing poetry, reading about mountain climbing) but self-importantly insists on "offering [him] lessons in nothing less than all of life" (63). Dr. Mason, we learn, is singularly unqualified to dispense such lessons. He is, at least in Peter's eyes, overbearing and insensitive in his interactions with the owners of the pets he treats, and perhaps even unethical in his professional decisions. Then, Peter discovers, his mother is having an affair with Dr. Mason (who is also married). It is the burden of this knowledge that drives the narrative.
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.
A physician seeks solace at the South Pole. Her planned one year stay there is cut short when she discovers a lump in her breast. The attempts to care for her at the South Pole (with telecommunicated help from the U.S.) prove insufficient and a plan to rescue her is successful.
There's more than the drama of illness in a remote location in this book, however. Intertwined with this story of illness is the story of the author's troubled marriage (to her physician-husband), the eventual estrangement from her children, the support of her family of origin, and most fascinatingly the daily rhythms of living (and doctoring) at the South Pole. Scattered throughout the memoir are occasional critiques of "corporate" medicine and poems that inspired the author throughout her ordeal.
The action of this stream-of-consciousness novel takes place over one day--the Day of the Dead--1938, in a remote village in Mexico. The novel opens with a conversation between two who reminisce about the Consul who died one year ago. Thence the work takes the reader back to the preceding year and the principals about whom the story evolves. The Consul (Geoffrey), his former wife Yvonne, his half brother Hugh, and a smattering of characters resonating in the Consul's past come together with some dream or fantasy about reconstructing a life that has been cast asunder by the Consul's alcoholism.
Flashback by flashback, the reader is apprised of the former lives of the central characters as they move together through a surrealistic day in search of some anchor to which they may attach their ill-fated, but obsessively conjoined, lives. Much of the day is mired in the Consul's alcoholic hallucinosis and the reader is challenged to sort the reality from the fantasy as the day ends in tragedy for two of the three primary characters.