Showing 251 - 260 of 351 annotations tagged with the keyword "Freedom"
This is a collection of related stories, sketches, poems, and a one-act play by Jean Toomer, a little-known writer of the Harlem Renaissance. The book is divided into three sections. The first part of the book is a series of stories that portray the lives of poor black women in rural Georgia. They deal with such subjects as infanticide ("Karintha"), miscegenation ("Becky"), hysteria ("Carma"), lynching ("Blood-Burning Moon"), and religious mysticism ("Fern" and "Esther"). Taken together, these stories portray an intuitive, violent, spontaneous, and pre-rational culture.
The second part of Cane takes place in Washington, DC, where Toomer depicts the life of urban black Americans in the early 1920's. Here we encounter the conflict between rationalism, as represented by the well-educated "intellectuals," and traditional lifestyle and morality. The best stories in this section include, "Avey," "Theater," and "Box Seat."
The last section is a one-act play ("Kabnis") about two urban black writers attempting to establish a contemporary "Negro identity" in light of the repression and suffering of their people. One is overwhelmed by negativity and a sense of victimization, while the other man believes that the past can be transcended, especially through the power of art.
St. Luke’s Hospital was founded in 1750 to provide free care to the impoverished mentally ill. It mixed benevolence with "unconscious cruelty" in the treatments used by the "practitioners of old," from restraints and drugs to swings and a key to force-feed recalcitrant patients. Dickens describes this gloomy edifice as he saw it on December 26, 1851, although he notes a "seasonable garniture" of holly.
The inhabitants of St. Luke’s largely sit in solitude. Dickens decries the absence of "domestic articles to occupy . . . the mind" in one gallery holding several silent, melancholy women, and praises the comfortable furnishings--and the relative "earnestness and diligence" of the inmates--in another. He uses statistics to show the prevalence of female patients, "the general efficacy of the treatment" at St. Luke’s, and the unhealthy weight gain of the inhabitants due to inactivity. Dickens describes the behavior of various distinctive inhabitants during the usual fortnightly dance, the viewing of a Christmas tree, and the distribution of presents.
This well crafted story concerns a contemporary woman in her thirties who undergoes significant personal losses; in fact, she seems to lose or lack an identity. Over the years, Kat, an "avant garde" fashion photographer, has altered her image, even her name, to suit the situation and the times. She has had two abortions and "learned to say that she didn't want children anyway."
The story begins when Kat undergoes surgical removal of a rare and peculiar ovarian tumor containing hair, teeth, bones (the clinical term is a dermoid cyst ); Kat dubs it "hairball " and stores it in formaldehyde on her mantelpiece. We learn that Kat's relationship with her married lover is going sour, that he will replace her as creative director at work. She fantasizes that she has given birth to "hairball" who she sees as the "warped child" of their failed relationship. Physical symptoms accompany Kat's growing emotional confusion. Hairball becomes the vehicle for an ultimate bizarre act reflecting Kat's personality disintegration. She has gone from being Katherine to Kath to Kat, to K, to being "temporarily without a name."
For more than fifteen years, Irish-born Grace Marks has been confined for the 1843 murder of housekeeper, Nancy Montgomery, and her employer, Thomas Kinnear, at their home north of Toronto. Her convicted accomplice was hanged, accusing Grace with his last breath, but her sentence was commuted to life in prison at the last minute. Because of her amnesia and outbursts of rage and panic, she was held in the Lunatic Asylum before being sent to the Kingston [Ontario] Penitentiary.
Beautiful, intelligent, and strangely poised, Grace intrigues worthy townsfolk, spiritualists, and some of her jailers, who grant her the privilege of outside work, believe in her innocence, and strive for a pardon. In looking for medical approbation, they consult Dr. Simon Jordan, a young American doctor who is interested in insanity and memory loss. Without explaining his purpose, he brings her vegetables and other familiar objects, hoping to stimulate recollection of her life.
Interspersed with Jordan's own problems, Grace's story unfolds in her own words, from her poverty-stricken childhood in Ireland and the emigration voyage that killed her mother, leaving her and her younger siblings to a neglectful father, through her short life in service, to the dreadful events of autumn 1843. She has suffered many losses, including the death of her mother to ship fever, and that of her friend and fellow servant, Mary Whitney, from an illegally procured abortion. After many weeks, Jordan abandons his project in frustration and ambiguity. The novel ends years later with forty-six year-old Grace's discharge from prison in 1872, nearly thirty years after the crime.
Holy Fire's setting is America at the end of the 21st century. A gerontocracy is firmly in place and in many older persons are reaping the benefits of life-extending technology. Mia Ziemann, the protagonist of this "cybersuspense" novel, is a 94 year-old medical economist who has a life-altering visit with a dying ex-lover. Could she become the person she had wanted to become so many decades ago--someone much more adventuresome?
In order to do so, she needs to undergo an experimental treatment--NTDCD (Neo-telemeric Dissipative Cellular Detoxification)--that does not just halt the aging process, but reverses it. NTDCD involves numerous ordeals including clogging her digestive tract with a sterilizing putty, filling her lungs with a sterilizing oxygenating fluid, replacing her cerebrospinal fluid (producing profound unconsciousness), being fetally submerged in a gelatinous tank of support fluids where the bacteria in her body are removed, and then receiving DNA treatments. If she survives the treatment the question remains whether or not she'll be able to survive as a young person in a world that favors the old.
This is the second collection of poems by international health physician Norbert Hirschhorn. The first poem, "Number Our Days," is a meditation based on a verse from Psalm 90, "Let us number our days / That we may get us a heart of wisdom." The poet reflects on his mother's escaping the Holocaust ("my blond head sucking her breast"), her subsequent depressions, and eventually the day when the adult son was faced with the decision whether to dialyze his dying mother.
This poem sets the stage for the whole collection: an inquiry into the meaning of family and love and memory. Hirschhorn doesn't take himself too seriously, as in his description of adolescent lust ("Donna, Oh Donna"), the compelling "Self Portrait, "Growing up in New York / with skull caps and spittle, I felt demeaned to be Jewish / and fled to the Ivy league," and the wonderful "New Old Uncle Blues."
There are three major clusters of poems: one that deals with the poet's family and childhood; a second cycle of love, distance, divorce, and renewed love; and, finally, an engaging set of poems that focus on his experience in Indonesia and Southeast Asia. In "On a Guesthouse Veranda in Surakarta, Central Java," Hirschhorn writes, "What matters here? Nothing. / Never has life been / so sweet." And "A Non Believer Wakens to the First Call to Prayer" ends with these beautiful lines, "The men who pray raise up their palms. / Soon the sun will warm the stones."
Note: I try not to reveal too much here. Nevertheless, I urge you to read the book first. I would not want the magic of reading this book to be diminished by too much foreknowledge--no matter when the book is initially opened.
Harry Potter and the Order of the Phoenix is the fifth book in a planned series of seven (see Harry Potter and the Sorcerer's Stone for an introductory summary). Harry is now fifteen years old. The opening chapter, "Dudley Demented," features a return of the Dementors (see Harry Potter and the Prisoner of Azkaban), who had been sent to Harry's neighborhood in Little Whinging to deliver their soul-sucking kiss. In order to repel the Dementors and save himself and his bullying cousin Dudley Dursley from the kiss's death-in-life, Harry uses magic. This transgression from rules on underage wizardry leads to Harry's near expulsion from his school, Hogwarts, and a trial by the full court, the Wizengamot, led by Cornelius Fudge, in the Department of Mysteries of the Ministry of Magic.
Headmaster Albus Dumbledore, concerned with Harry's safety as well as with leading the resistance efforts (The Order of the Phoenix) against the resurgent evil Lord Voldemort, not only prevents Harry's expulsion, but also organizes the guard for Harry's transfer from the Dursley home to the ancient house of Harry's godfather, the wonderfully moody and complex Sirius Black. Sirius, like Harry's parents, would risk anything for his godson, but the relationship is charged by Sirius' goading of Harry to be more cavalier like James Potter--Harry's father and Sirius' best friend--and by Sirius' antipathy towards being imprisoned in his ancestral home, filled with reminders of his pureblood wizard family.
These include a portrait of his raging, hate-filled, deceased mother and a malevolent house elf, Kreacher. Communication between Harry and Sirius is a key theme in the book, as Harry looks to Sirius for guidance on the tribulations of adolescence and to satiate Harry's continued craving for information about his father. Harry's emotional tether is short in this novel, and runs the gamut from frustration and envy that his two best friends, Ron and Hermione, were made prefects of Gryffindor House, to despising two teachers (potions teacher Snape, of course, and the new venomous, officious Defense of the Dark Arts teacher, Dolores Umbridge) and finally to absolute fear and hatred of Voldemort, his mortal, yet intimate, enemy.
Harry's scar pains him almost continuously now that Voldemort has returned in the flesh, and also now that Harry has dreams and visions of Voldemort's actions. With this ability, Harry envisions himself as a snake and witnesses the wounding of Ron's father, Arthur Weasley. This episode leads to two visits to the wizard hospital: St. Mungo's Hospital for Magical Maladies and Injuries. The reader is deliciously informed that the personnel in green robes are not doctors ("those Muggle nutters that cut people up" p. 484), but rather Healers: wizards and witches who passed a large battery of tests in a range of subjects to qualify for such training.
The hospital is a mix of the mundane (the irritable receptionist) and the arcane (patients suffering from bizarre spell damage). Mr. Weasley's recovery from the nearly lethal snake bite suffers a minor setback when Trainee Healer Pye (not the Healer-in-Charge, Hippocrates Smethwyck) tries some "complementary medicine . . .
[an] old Muggle remed[y] . . .
called stitches . . . " (pp. 306-7). The loving Mrs. Weasley, whose temper is notorious and hence humorous, shouts at her husband that even he "wouldn't be that stupid" as to allow his skin to be sewn together. (p. 307)
While in the hospital, Harry and his friends encounter schoolmate Neville Longbottom visiting his parents, who suffer dementia caused by dark magic performed by one of Voldemort's Death Eater followers. Mental illnesses prove far more difficult to remedy than bodily injuries and maladies. Indeed, late in the book, Madam Pomfrey, the Healer at Hogwarts, wisely advises that "thoughts could leave deeper scarring than almost anything else." (p. 847) As Dumbledore, the embodiment of sagacity, states, memories of old hurts, slights and abuses, make "some wounds run too deep for . . .
healing." (p. 833)
Other medically related items include the Skivving Snackboxes--an assortment of magical treats and their antidotes concocted to fake various illnesses in order to skip classes, and Umbridge's detention punishment which results in the painful etching of the required written phrases on the back of the hand of the miscreant student.
Professor Snape is charged with teaching Harry the subtleties of mind-reading (Legilimency) and its prevention (Occlumency), in an effort to prevent Voldemort's use of Harry's mind. "The mind is a complex and many-layered thing," says Snape, and hence the mind cannot be read like a book. (p. 530) Harry's failure at these lessons leads to the denouement of the book and ultimately to the loss of someone very dear to him. After the inevitable confrontation between Voldemort and Harry, Dumbledore gently coaches Harry through his guilt and anger to teach him about destiny, love and death.
This is the fictional journal of four months in the life of Doctor Tyko Glas, a turn-of-the century Swedish physician, who writes, "How can it have come about that, out of all possible trades, I should have chosen the one which suits me least?" Though Doctor Glas is over 30 years old, he has "never been near a woman." In fact, he finds the physical aspects of sexual intercourse rather repulsive. Even more repulsive is his patient Rev. Gregorius, a nasty 57-year-old minister who happens to have a lovely young wife.
One day Mrs. Gregorius, also his patient, presents Doctor Glas with a strange request. Her husband's sexual advances have become onerous to her. Could the doctor tell him that she suffers from a pelvic disease and, therefore, must avoid sexual relations for several months? Doctor Glas agrees to do so, but the Rev. Gregorius is not easily put off. He believes that God has given married couples the duty to procreate, so sex is not simply a question of pleasure or preference. It is a question of duty. Thus, he rapes his wife, believing that their sacred marital duty is more important than her health.
Meanwhile, Mrs. Gregorius admits (to the doctor) that she has fallen in love with someone else, a handsome young businessman. As the summer progresses, it is clear that Doctor Glas has fallen in love with his patient, a love that is as tortured as it is silent and unrequited. Eventually Glas becomes convinced that he must save his patient from her repulsive husband's advances by murdering him.
Thus, the doctor carefully plans to poison the minister, using cyanide pills that he had once prepared for his own suicide. His plan is successful. The minister dies of an apparent "heart attack." Unfortunately, at around that time the handsome lover announces his engagement to another woman. The bereft Mrs. Gregorius, who sees nothing in the doctor, is left alone. Doctor Glas is also alone. "Life has passed me by," he ruminates.
The sculptor Ken Harrison (Richard Dreyfuss) is badly injured in a car accident and finds himself in the middle of life permanently paralyzed below the neck and dependent on others for his care and survival. Ken is a strong-minded, passionate man totally dedicated to his art, and he decides he does not want to go on with the compromised, highly dependent life that his doctors, his girlfriend Pat (Janet Eilber), and others urge on him. He breaks up with Pat and fights to be released from the hospital, to gain control of his life in order to stop the care that keeps him alive and unhappy.
His antagonist is the hospital's medical director Dr. Emerson (John Cassavetes), who believes in preserving life no matter what, and so tries to get Ken committed as clinically depressed. Ken's attending physician, Dr. Scott (Christine Lahti), begins with the establishment but gradually moves toward Ken's position.
The film ends with the judge at a legal hearing deciding that Ken is not clinically depressed and that he thus has the right to refuse treatment and be discharged. In the last scene, Ken lies in a hospital bed framed by his own sculptural realization of the forearm and hand of God from Michelangelo's Creation of Man.
Following the death of an aphasic hermit woman in the woods of North Carolina, it is discovered that she is survived by a daughter (Jodie Foster), a young woman who lives by herself as a kind of wild child, speaking a private language, and intensely fearful of human contact. The authorities decide that she must be normalized for her own good, but Dr. Jerry Lovell (Liam Neeson) disagrees, arguing that, although different, she is fine and has not asked for help. He insists on getting her informed consent before treatment. A judge agrees to give Lovell three months to observe the woman, whose name turns out to be Nell, and find evidence that she should not be treated against her will.
Lovell recruits a partner, psychologist Paula Olsen (Natasha Richardson), and together they set up an observation base on a houseboat with a view of Nell's cabin. From there Lovell makes a series of attempts to win Nell's confidence and understand her language. (Olsen for much of the film mainly represents a set of professional values more conservative that Lovell's unconventional therapeutic moves--which, for example, make her suspect that he is sexually attracted to Nell. Her own sexual presence, while downplayed, serves to defuse this potential.)
Lovell wins Nell's confidence (she calls him her "guardian angel") and the secrets of her speech and wounded psyche (a twin sister died young, and Nell has apparently at least witnessed sexual abuse). Following a court hearing in which Nell speaks in her own defense, the world gets word of her case and journalists descend on her remote cabin on foot and by helicopter.
Fearing that civilization will destroy Nell, Lovell arranges to have her hospitalized as the least available evil. However, when he finds her drugged, he sees that hospitalization is no solution, and he carries Nell out of the hospital and back to her cabin. He tries to make her understand that he is not her guardian angel.
The film switches to a warmly-lit lakeside scene five years later, when all problems seem to have been solved. Lovell and Olsen, who are married with a little girl, and several other sympathetic characters are picnicking with Nell near her cabin, and Nell is shown entranced and somehow emotionally fulfilled in being with the child, who is the age at which her twin sister died.