Showing 281 - 290 of 295 annotations tagged with the keyword "Obsession"
As she turns 39, Alden begins a four-year quest to have a child. Despite her need and desire, she wonders whether having one will keep her from her work, writing. She and her husband Jeff go from not-really-trying, through temperature charts, to a series of painful and expensive procedures, all to no avail.
The memoir describes not only Alden's search for a child but for herself as well. Her relationship with her mother, her immersion in the counterculture ("in a middle-class way"), the importance of writing, her attempts to keep her own life under control, and her satisfying marriage are important elements in the memoir.
An explorer visits the penal colony, where an officer demonstrates to him the Harrow, an instrument used to inflict capital punishment. The Harrow is an extraordinarily elegant instrument: the condemned man lies face-down on a Bed, while a complex system of needles inscribes the commandment he has broken (e.g. HONOR THY SUPERIORS) on his back. The needles pierce deeper and deeper until the prisoner dies. In the process of dying, however, the condemned man finally understands the nature of justice and his punishment. His face is transfigured, a sight edifying to all those who watch. The officer begins to demonstrate the Harrow on a prisoner condemned to die because he was sleeping on duty.
The machine was conceived and developed by the former Commandant. It soon becomes clear that the explorer does not approve of the death-machine and that he feels morally bound to express this disapproval to the new Commandant, who is already known to have serious questions about using the Harrow as a method of punishment. Suddenly, the officer removes the condemned man from the Bed and takes his place. Before doing so, he adjusts the machine to inscribe "BE JUST." The Harrow begins its grisly work on the officer's back, but malfunctions and goes to pieces--but not before the self-condemned officer has died.
Although he could be a court physician in Macedonia, Hippocrates has returned to the island of Cos, at least temporarily, to take over his dead father's practice. He is summoned to the villa of a wealthy citizen to consult on the fits of a daughter of the house. Using precise clinical observation, he diagnoses hysteria instead of epilepsy. Then, he relates the girl's psychological problems to the neglect of her selfish and adulterous mother, Olympias, who prefers her handsome, athletic, but rather dense (and as it turns out, illegitimate) son, Cleomedes.
A marriage is to be arranged with Cleomedes's obsession, Daphne, the exquisitely beautiful and intelligent daughter of a physician from Cnidus. But Daphne falls in love with Hippocrates, and he with her. In between solving clinical problems, including a real case of epilepsy, a botched abortion, and a broken hip in his own grandmother, Hippocrates is led along a tangled path of intrigue, seduction, and false accusations.
A fire destroys the medical library of Cnidus, killing Cleomedes, who, for once in his life had risen to heroism in attempting to save an invalid woman and her son. When the newly orphaned child reveals that Olympias and her old lover have committed arson, Olympias leaps from the highest wall to her death. Hippocrates is now free to marry Daphne. Adopting the child as their own, they return to the island of Cos.
A journalistic account of the CIA-funded experiments in "psychic-driving" of Dr. Ewen Cameron at Montreal's Allan Memorial Institute in the 1950's and early 1960's. Cameron investigated "treatment" for various forms of depression, consisting of high-dose electroshock (Page-Russell variant), heavy sedation, and the repetetive playing of patient's or the doctor's recorded voice.
Many patients did not respond; some were destroyed by the technique. Particularly moving is the story of Mary Morrow (Chapter 9), a physician-patient whose career was damaged by her experiences. Cameron held the most prominent positions in professional psychiatry; he died unscathed by his questionable research and in pursuit of yet another goal, a mountain peak.
Summary:During an art class on anatomy, an art instructor in an undergraduate curriculum addresses the students on the dedication and vision an artist needs to become a true artist.
The setting is Germany in the late 1920s. Rosalie, the central character, is a "sociable," cheerful 50 year old widow who lives with her adult unmarried daughter and her adolescent son. Her manner is youthful but "her health had been affected by certain critical organic phenomena of her time of life." Rosalie is keenly aware of all that menopause implies: the loss of sexual allure and of a (biologic) purpose in life. She feels "superannuated."
Along comes a young man, well-built, who is the American-born tutor for her son. She is overwhelmed by physical attraction for him, becoming infatuated, much to the disapproval of her repressed, cerebral daughter. She feels young and attractive once more, believing that her heightened state of sensuality has resulted in the resumption of what appears to be menstrual bleeding.
Planning to declare her love to the tutor, Rosalie arranges a family excursion to the Rhine castle where the black swans swim. In the decaying alcoves of the castle, she does so; the pair will rendezvous that night. The rendezvous never takes place; Rosalie has hemorrhaged. She is found to have a large, metastatic uterine tumor.
Summary:The Stone Diaries recount the life of Daisy Goodwill (1905-199? [sic]). "[W]ife, mother, citizen of our century," her son closes the benediction of her memorial service. Yet Daisy is also the orphaned daughter of an orphan--her dramatic birth a turning point for her father, the neighbours--and a social outcast. Daisy becomes a happy child, a lifelong friend, a college graduate, a consummate gardener, a cultivator of stories, a pragmatist, a romantic, a widow twice (once scandalously, once more ordinarily) . . . . In short, the diaries of "Day's Eye" bear witness to the extraordinary lives of seemingly ordinary "citizens."
The story begins with a philosophical discussion about how science (especially phrenology) understands human beings. It is the narrator's contention that science develops a priori. One first decides on the basic needs of humankind, then ascribes to certain organs the role of satisfying those needs. The narrator thinks this is backwards: "It would have been wiser, it would have been safer to classify . . . upon the basis of what man usually or occasionally did, and was always occasionally doing, rather than upon the basis of what we took for granted the Diety intended him to do."
One major trait scientists have overlooked is perversity. Men often do things for no better reason than that it will hurt themselves or others. The narrator then tells how he murdered a man and lived contentedly with the knowledge for many years until he was suddenly, perversely compelled to confess.
Summary:Part of Patricia Foster's collection, Minding the Body: Women Writers on Body and Soul, Houston's essay is a cynical, self-deprecating, painfully honest, and wryly humorous observation of contemporary American women's obsession with their bodies, most notably thinness. Musing on her own lifelong fixation with weighing less, she admits that "for a good part of my life I would have quite literally given anything to be thin . . . a finger, three toes, the sight in one eye." Her essay is a collection of snapshots in her life, moments that bring into focus her displeasure with her body shape and size: walking down Fifth Avenue sizing up other women's bodies; the dinner habits of her family of origin that prohibited bread, dessert, or seconds; her husband's (thin) women employees who eyeball her body; her ongoing relationship with mirrors.
A 'hunger artist' explains the decline of interest in the art of fasting. In the old days people would enthusiastically observe the artist as he fasted, some of them watching carefully for surreptitious snacking. In those times 40 days was the limit of fasting; on the 40th day, the artist's cage was decked in flowers as he emerged to the ministrations of doctors and the crowd's applause.
But the public now has lost interest. The artist left his impresario and hired himself out to a circus where his cage is placed near the cages of animals. He dreads the onslaught of customers, some of whom stop and watch him, but others rush right past him to see the animals.
At the end, the overseer finds the hunger artist among the straw when he enters the cage. Just before he dies, the artist admits that there was no honor in his fasting; he just never found the food that he liked. Had he found it, he would have stopped fasting. He dies and is replaced by a panther.