Showing 261 - 270 of 388 annotations tagged with the keyword "Narrative as Method"
Sam and her partner are getting ready to go out. She is due to have a baby soon, and they need to acquire just a few more items to complete the nursery and baby wardrobe. Sam wants a Forever Baby duvet, but realizes that it may be difficult because duvets are large and hard to conceal. Slowly it emerges that her trendy baby supplies are stolen.
Sam stops by the clinic where an assistant makes the mistake of asking if this is her first pregnancy. The glance from a colleague silences her, but Sam notices. She has no baby now but she remembers her little girl who "ought to have kept out of his way" although she was hiding in her duvet.
In Edinburgh 1879, the famous actress Hermione Clery and her young lover are brutally murdered. A young man, Alan Lambert, stands accused of the crime, arrested after an expensive chase across the Atlantic. His brother, Graeme, appeals to Dr. Joseph Bell, professor of surgery and one of a dynasty in Scottish academic medicine. At first reluctant, Bell agrees to investigate the case and engages his medical student Arthur Conan Doyle in the task.
The story is told from Doyle's imperfect perspective. Beset by many obstacles from the police, the courts, and the Lambert family, Bell's investigation reveals a string of errors, including police sloppiness, suspicious evidence, and corruption in both government and law enforcement. On the day of the planned execution, Bell identifies the true killer and his motive, saving Lambert from wrongful death.
Summary:In response to hearing the dehumanizing proclamation that "bed number 12 has died," the narrator attempts to restore dignity to the life of a fellow patient by placing him, his illness and his death into a fictive framework. Having only very few clues to work with, the narrator eventually discovers that his story about the patient has for the most part missed the mark. He gains some solace in the end, however, for at least he made the attempt to understand a fellow sufferer's life and death, an act the doctors and nurses were unwilling to do.
The framing story of this novel is simple: an elderly literary agent receives word that a person named Yvonne Bloomberg would like to meet with him. When he at last visits the woman, he discovers that she was an acquaintance from their youth--Yvonne Roberts--and she wishes to publish the journal that a mutual acquaintance, Dr. Simmonds, had bequeathed her. The agent agrees to read this journal, which provides most of the novel's text. A series of letters that appear in the last few pages indicate that, indeed, the journal is accepted for publication.
The journal recounts the first six months of 1950. Dr. Simmonds is an unmarried general practitioner nearing his 40th birthday. He has mixed feelings about his practice and his patients. For example, he likes Michael Butler, an irascible middle-aged man dying of cancer, but he dislikes many of his other patients, including Anton Bloomberg, a repulsive Jew with a "hooked nose," "too thick lips," and a "wheezing chest." (p. 25)
Bloomberg originally consults Simmonds about his young wife's frigidity; she simply will not perform her wifely duties. Simmonds himself is attracted to Bloomberg's beautiful young Yvonne, who mysteriously sends him a copy of a novel called Doctor Glas, published in 1905 by the Swedish author Hjalmar Soderberg [see annotation in this database]. Dr. Glas is the fictional journal of a doctor who treats Rev. Gregorius, a 57-year-old minister and his young wife. The wife complains that her husband's sexual advances are repulsive. From this point on, the story of Dr. Simmonds parallels in many ways that of Dr. Glas, a parallelism which Simmonds records in his journal and struggles to understand. Dr. Glas ultimately murders Rev. Gregorius.
Simmonds becomes obsessed with Yvonne Bloomberg and imagines that she is attracted to him. They interact in a variety of social settings, including a forum in which he suggests that he approves of euthanasia. She speaks to him of her husband's unwelcome advances. He considers killing her husband under the guise of treating his asthma, but shies away from taking that step. However, when Anton Bloomberg fails to respond to repeated injections of adrenalin during a severe asthmatic attack, Simmonds gives him morphine (which could kill him), then immediately relents and calls for an ambulance. Bloomberg recovers, but is permanently brain damaged.
Subsequently, Yvonne is free to spend the next 50 years living with her real lover (Hugh Fisher), and the two of them take care of her childlike husband. Simmonds, however, sinks into melancholy and several years later commits suicide.
Nikolai Stepanovich, a famous professor of medicine, narrates his own story. An elderly man, he believes he will die in a few months, although he refuses to consult a doctor about his illness. He knows his wife to be a fat, old busybody, but he remembers her as a young beauty. His daughter Lisa is engaged to Gnekker, an ugly young man who seems to have neither talent nor employment. The professor's only enjoyment is to spend hours talking with Katya, his young ward, who once ran off to join the theater in Moscow, but later returned to become an indolent do-nothing.
Although he is not cynical, Nikolai Stepanovich decries the poverty of medical education and he seriously questions the ability of graduating physicians to care for their patients. He finds himself beset by negative thoughts: "Feelings I never felt before have built a nest in my heart. I hate, I despise, I am filled with indignation."
He encourages Katya to go back to Moscow and become an actress, but she admits that she has no talent. After much urging by his wife, Stepanovich agrees to go to Kharkov to investigate Gnekker's background. When he gets there, however, he receives a message that Lisa and Gnekker were secretly married on the day before.
The dog Kashtanka belongs to a drunken carpenter who takes her out one day, but on the way home loses her in the confusion of a military parade. The story is told by an omniscient narrator who privileges Kashtanka's point of view, so we follow the dog's subsequent adventures largely from her eyes.
After spending a frightening night in the street, Kashtanka is rescued by a kind man who feeds her and takes her into his home, which turns out to be a strange menagerie. The rescuer happens to run a traveling animal show, in which the star performers are a goose named Ivan Ivanitch and a cat by the name of Fyodor Timofeyitch. Kashtanka's new master renames her "Auntie" and sets about training her to perform in his act.
"Auntie" thoroughly enjoys her new surroundings. Her master is kind, there is plenty of food and love; and "Auntie" gets along well with the other animals. However, one day the carpenter and his son attend the show and see "Auntie" performing. They instantly recognize her and call out, "Kashtanka!" Kashtanka drops her "Auntie" persona and follows them home, as the pleasures of her interlude with her new master rapidly fade from memory.
A man and woman, probably late middle-aged and married, check into a tropical holiday resort for their last annual vacation. One of them is dying. The man begins telling stories to the woman, as he has promised to, in the unspoken hope of postponing the ending that will separate them. The book consists of the twelve stories he tells, interspersed with her responses to the stories. Each story is in some way about the same two things: about being half of a couple--about love, partnership, and the prospect of loss--and about narrative--about communication, the construction of meaning, and about the way all stories (and lives), sooner or later, must end.
Like their teller, though, these stories do their best not to reach closure. An example is the second story, "Ad Infinitum," in which a woman receives some bad news by telephone--we deduce it concerns her husband's cancer diagnosis--and goes out to where he is working in the garden in order to tell him the news. She has to cross the space of the garden before giving him the information that will change everything for the worse, beginning the end of his life and their marriage.
It occurs to her that the space she must cross can be infinitely extended if, as Zeno's paradox has it, she can keep halving the distance that remains before she reaches her husband (and thus the end of their story). This would infinitely suspend time in their story. And yet, as she walks, she also knows she WILL reach him . . . until the narrator intervenes by breaking into her thoughts and beginning another story, effectively enacting Zeno's theory of the arrow that keeps re-beginning its flight towards the target. Just as stories stave off death in the frame narrative, they seem able to keep this man happily and innocently gardening, in suspended story-time at least, forever.
In the last story, the narrator returns to all the others, pulling together their interconnected patterns and allowing each a kind of closure that, while it reiterates the storyteller's resistance to endings, his act of "beguiling" himself, his wife, and perhaps death itself, "with narrative possibilities still unforeclosed" (224), also reminds us that stories need to end in order to mean.
Penny (Michele Hicks), working as a prostitute, is called to a room in a seedy hotel where she finds her client is a pair of adult conjoined twins, Blake and Francis Falls (played by identical but not conjoined twins, Mark and Michael Polish, who also co-wrote the screenplay). Shocked, she flees but later returns and, when she learns that one of the twins is ill, calls a doctor friend of hers to examine them. She cares for the twins and they become friends. At Halloween, "the only night of the year they [can pass for] normal," she takes them to a party and then back to her apartment where she and Blake almost make love while Francis, evidently the weaker twin, is sleeping.
She tells her lawyer/pimp about the twins, and he tries to persuade them to sell him their story (which he imagines in terms of separation: "The greatest divorce of all time: not who gets the kid but who gets the kidney . . . "). Offended by her betrayal, they return to their hotel room, and, apparently for the first time, the twins fight. Blake wants to get away from his brother.
The next morning Francis is ill once more, and the twins are hospitalized. Michele visits them and learns that they are dying. Francis's heart is becoming weaker, straining Blake's, and the only way to save Blake will be by separating them. Francis cannot survive separation. Penny tracks down their mother (Lesley Ann Warren), who gave them up for adoption at birth. She visits them in hospital. It emerges that Penny herself has a "retarded" child who is being raised by others. Francis's heart fails, and the twins are taken to the operating room.
Later, Penny tracks Blake down where he is now living alone in the trailer where the twins had lived before, as circus performers. The film ends with Blake, now a man with one arm and one functioning leg, telling Penny that the "story of me is over," but also that stories continue after sad endings. What makes an ending sad, he tells her, is the knowledge that the storyteller is continuing without you.
Summary:One day some people were visiting Chekhov and they wanted to talk about him, about his genius. The author was embarrassed. He asked them, "Do you like chocolates?" Although the visitors were reticent at first, Anton P. Chekhov encouraged them to speak. Soon everyone was talking about his or her preference in chocolates, relishing the fine points of "almonds and Brazil nuts" and "the flavor of shredded coconut." Later, in the coach on the way home, the people felt that their conversation with Chekhov was very successful. [30 lines]
When literature and cultural studies professor Michael Bérubé's son James was born in 1991, he was diagnosed with Down Syndrome. Negotiating various medical, social, and educational environments and the identities each assigns their son, Bérubé and Janet Lyon (his wife, a literature professor and former cardiac-ICU nurse), become effective advocates for Jamie and embark on a course of questions about the social systems that produce disabled identities and administer to those human differences termed significant ones. Bérubé engages these questions with a mixture of family experience (his own, and that of other families with disabilities), historical research, critical theory, and sophisticated critical analysis.