Showing 291 - 300 of 369 annotations tagged with the keyword "Mental Illness"
This is a brilliant reconstruction of a most improbable event: the major contributions made to the great Oxford English Dictionary by a deeply delusional, incarcerated 'madman,' and the development of a true friendship between him and the editor of the dictionary. One sees here the redemptive potential of work and love in even the most deeply psychotic patient.
Incongruously the patient is an American physician who was discharged because of service-related mental instability from the U.S. Army after the Civil War and received a pension for life. He went to Europe to seek relief of his delusional symptoms and ended up killing a man. Judged to be criminally insane, he was institutionalized at the newly built showpiece of the British penal system, the Asylum for the Criminally Insane, Broadmoor. While there he read an advertisement requesting volunteer help in reading specific books and making word lists and describing how the words were used in the books for the preparation of the new Oxford English Dictionary.
Over the next twenty years Dr. Minor, who was a voracious reader and had accumulated a large library, became the greatest contributor and maintained a lively correspondence with the famous editor, Dr. James Murray. For these many years they never met and Dr. Murray did not suspect that Dr. Minor was insane and institutionalized. After their meeting they became friends. The institutional care appeared to be very humane and Dr. Minor was a special patient in many ways, yet never regained his normal demeanor.
Twice a day without fail, at dawn and in late afternoon, Nestus Gurley delivers the newspapers. The boy is a given in the narrator's life, inevitable, an almost mythic presence. While in the real world Nestus is simply an energetic lad ("He has four routes and makes a hundred dollars"), in the world of the narrator's imagination, "He delivers to me the Morning Star, the Evening Star."
One morning the boy makes a paper hat that reminds the narrator "of our days and institutions, weaving / Baskets, being bathed, receiving / Electric shocks . . . " Throughout the poem the boy's steps tap an incomplete musical motif, a motif that needs only another note or two to become a tune. But what is the tune? And why is the tune so important? Even when in his grave on the morning of Judgment Day the narrator will recognize that step and say, "'It is Nestus Gurley.'" [81 lines]
In 1988, having suffered for years from major depression and borderline personality disorder, and now also showing symptoms of obsessive-compulsive disorder, the twenty-six-year-old Lauren Slater is prescribed a new drug: Prozac. In this "diary," a series of meditations and progress reports on her experience, Slater traces ten years on Prozac, providing a remarkable before-and-after picture of the drug's effects.
She is "hobbled" by her illness: has dropped out of college, has been fired from most jobs, has been hospitalized five times. By the end of the book, she has received a doctorate from Harvard, has a successful career as writer, teacher, and psychologist, and is in a happy marriage.
Despite these unquestionable positives, Slater is ambivalent about the drug, describing the shock of becoming "normal," of being assaulted by health. She describes the sexual dysfunction, her anxiety about losing the need and ability to write the kind of poetry she had written before, and the terrifying moment when the drug suddenly stops working, and she must confront the possibility that it may not be a reliable and permanent solution.
She comes to fear that, healthy, she is no longer herself but something the drug has created. At the same time, though, it is only because of the drug that she is even able to ask these questions. Finally, she thanks her doctor for his ambiguous gift: she has become like a beautiful fish, her "skin all silver," her "mouth pierced" on Prozac, "this precious hook."
This memoir of a clinical psychologist (also a professor of psychology) chronicles her own depression over a period of a year and a half, from early symptoms, through near despair, electroconvulsive therapy, and hospitalization to recovery. The journey is detailed, not only in its treatment of her emotional states, but of her struggle to maintain family and professional life, keep her house and office organized, and attend to a dying friend.
As her bouts of panic and disorientation grow more apparent, first to herself and finally to others, she seeks refuge in spiritual retreats and in conversation with colleagues, ultimately submitting to treatment. She names the emotional "undercurrents" suggested in the book's title with moving precision: panic over sudden disorientation, anxiety about what to keep secret, frustration with her own unreliability, dread of small duties and ordinary appointments, heartache over her faltering efforts to be a good and present mother.
The consent to hospitalization costs a great deal in humility, in risking a controversial treatment, and in letting go of a professional persona she doesn't know whether she'll be able to retrieve. But clearly the book is written by a woman whose clarity is a testimony to regained mental health and exceptional intellectual clarity. It is not a professional record, but an intensely personal memoir of what was both an encounter with serious mental illness and a spiritual journey.
Some interesting and very odd characters (including a few scientists and researchers) inhabit the eleven short stories in this collection. In "Concerning Mold Upon the Skin, Etc.," Anton van Leeuwenhoek creates his first microscope and becomes so absorbed by the invisible worlds revealed to him that he neglects his own family. "Nowhere" is the tale of an old anatomy professor who aspires to spice up the curriculum by obtaining a corpse for his students to study. "Tumbling" recounts the difficult life of a young woman understandably haunted by the possibility that she may inherit Huntington’s chorea from her father and her inspired liberation of over one thousand laboratory mice.
In "Chloroform Jags," a professional midwife self-experiments with chloroform "not to escape time but to dissolve time." Other stories describe the execution of an elephant; the murder of a physician who happens to be an important figure in the French Revolution; a woman with a talent for insomnia who has not slept for six months; a psychoanalyst and his patient; an eighteenth century blind beekeeper; and Dorothea Dix, an early advocate for the humane treatment of the mentally ill.
In her Introduction to this posthumous collection, the poet’s daughter writes, "If I had to identify a single distinguishing figure of his imaginative world . . . it would be his preoccupation with the human task of sustaining the intensity of experience against a backdrop of desensitizing forces and death." These 25 poems range across Bruce Ruddick’s lifetime of sensitive responding to those desensitizing forces. Some spring from the pen of Ruddick as a young Canadian poet; others from the life experience of an aging psychoanalyst. All share the discipline, imagery, and economy of line that characterizes them as the work of a fine poet.
In "#25"(p. 10) Ruddick adopts the voice of a medical student who categorizes and quantifies the life of his cadaver. But the patient needs more than this. Indeed, the patient needs "a physician’s ear." ("The Patient," p. 11) Ruddick demonstrates such a sensitive ear in poems like "Ache" (p. 13)," Rehabilitation" (p. 39), and "Fever" (p. 41). And he also puts his "grouchy" heart on the table for all to see in "When the Dog Leaped"(p. 33) and "Spring" (p. 17).
Peppered with a plethora of black and white stills, this book is a compilation of a physician's film reviews and reflections on how movies have mirrored the changes in medical care and in society's attitudes towards doctors and medicine over the last sixty years. Ten chapters blend a chronological approach with a thematic perspective: Hollywood Goes to Medical School; The Kindly Savior:
From Doctor Bull to Doc Hollywood; Benevolent Institutions; The Temple of Science; "Where are All the Women Doctors?"; Blacks, the Invisible Doctors; The Dark Side of Doctors; The Institutions Turn Evil; The Temple of Healing; More Good Movie Doctors and Other Personal Favorites.
The appendices (my favorite) briefly note recurring medical themes and stereotypes ("You have two months to live," "Boil the Water!"). Formatted as a filmography, the appendices reference the chapter number in which the film is discussed, the sources of the photographs, and a limited index.
Harry Potter and the Goblet of Fire is the fourth book in a planned series of seven (see annotation of Harry Potter and the Sorcerer's Stone for an introductory summary). Unlike previous books, this one opens with the murder of a Muggle, Frank Bryce, the elderly gardener for the Riddle estate--a home where Tom Riddle Sr. and his elderly parents had been found dead many years before. Voldemort, although still weak and requiring much assistance from his simpering servant Wormtail and his snake Nagini, is positioning himself for a return to full power.
Harry's distinctive scar is burning with pain as he awakes from a dream of the previous scene. This scar had hurt once before, in book one, when Voldemort was on Hogwarts property. Harry alerts his godfather via owl post and joins the Dursleys for breakfast. Breakfast is meager because Dudley, always obese and obnoxious, has now grown to outrageous proportions and is on the diet ordered by his school nurse. His mother, to make him feel better, puts everyone on the same diet. Harry is once again saved from the Dursleys by the Weasley family, although Dudley and his appetite are the objects of a prank by the Weasley twins.
Arthur Weasley (the father) who works for the Ministry of Magic in the Misuse of Muggle Artifacts Office has secured top notch tickets for all to attend the World Quidditch Cup. This fantastic event is marred by the appearance of signs of support for Voldemort by his followers, the Death Eaters, and Arthur hurries home with his charges in tow via Portkey transit.
Harry, now fourteen, enters Hogwarts for his fourth year. This year is different for all of the students due to the resurrection of the Triwizard Tournament, a dangerous international competition for a selected champion from each of three schools, Durmstrang, Beauxbatons, and Hogwarts. Although underage, Harry is selected by the Goblet as an extra competitor from Hogwarts. Everyone is concerned for the competitors' safety (the famous Viktor Krum, the enticing Fleur Delacour, and the decent Cedric Diggory). In particular, Harry's life is in danger from suspected foul play.
Adolescent love, the nastiness of poison-pen reporter Rita Skeeter, the ever-vigilant nature of Mad-Eye Moody (an Auror who caught Death Eaters in the past and who now teaches Defense Against the Dark Arts), spells that cause loss of control, excruciating pain or death, enslavement of house-elves, money, and variable degrees of professionalism by members of the Ministry of Magic, such as Cornelius Fudge, Bartemius Crouch, officious Percy Weasley, and Ludo Bagman are some of the themes and subplots in the novel. The traumatic end to the competition and follow-up lead Harry to witness and participate in some horrific events. Dumbledore, however, refuses to allow Harry to bottle-up the experience--Dumbledore understands that talk, openness, support, and rest are the first steps towards healing.
Harry Potter and the Prisoner of Azkaban is the third of a planned series of seven books (see annotation of Harry Potter and the Sorcerer's Stone for an introductory summary). Harry, forced to suffer another summer with the Dursleys, has just turned thirteen. When Uncle Vernon's sister arrives and proceeds to abuse Harry, he rebels, runs away with his heavy school trunk and is picked up by the Knight Bus, a wizard transportation vehicle. Meanwhile, the nine-member Weasley family, usually short of money, have won a wizard lottery and are using the money to visit the eldest son, Bill, in Egypt.
Sirius Black, whose motorcycle was featured in the first chapter of the first book, has escaped Azkaban and the prison guards known as Dementors. Sirius was imprisoned just after the death of Harry's parents when he was caught at the scene of another horrendous crime. Special precautions for Harry's safety are arranged by Dumbledore and the Ministry of Magic, led by Cornelius Fudge. When Harry meets a Dementor on the train to Hogwarts, he blacks out as he feels a rush of coldness, a complete lack of happiness or future, and relives his worst memories. Remus Lupin, the mysterious, gentle and periodically ill Defense of the Dark Arts Professor, provides the antidote: chocolate.
Thus begins Harry's third year at Hogwarts. Hermione signs up for an especially busy, seemingly impossible, schedule of classes. Ron's old pet rat, Scabbers, takes a turn for the worse, despite Ron's attention and care. The invisibility cloak again proves useful, as does a magical map. Hagrid, cleared of the cloud that had been hanging over him since his school days, is promoted to teacher: Care of Magical Creatures. However, an injury to Draco Malfoy by Buckbeak the hippogriff (a flying bird-horse) during the first class leads to another investigation.
Bizarre characters, such as the doom-predicting Divination teacher, Sibyll Trelawney, exciting Quidditch matches with a new broomstick for Harry, more run-ins with Snape, and a peek at Hogsmeade, an all magic village, round out the story. Ron, Hermione, and Harry's dangerous adventure leads to the exposure of Sirius Black, the truth of his connection to Harry's parents, and new discoveries for Harry about his father. Our heroes also discover who is the servant to Voldemort, the Dark Lord.
In 1929, a Danish physician identifies a new strain of smallpox that is capable of infecting and killing even those individuals who have previously been vaccinated against the disease. Before this incurable plague reaches them, the citizens of Vaden, a prosperous town renowned for their fanatical love of children, unanimously agree to barricade the city from the rest of the world.
Only once during this time when Vaden has quarantined all of Denmark does the town make an exception. A traveling European circus is allowed into the city because the mayor cannot bring himself to refuse its sick children. Unbeknownst to the villagers, a dwarf clown who is the featured performer of the circus has just died from the virulent strain of smallpox, but not before introducing it to Vaden. A 12 year old member of the circus successfully impersonates the dead clown. One night, the imposter with his wooden flute leads the children out of Vaden through a gate in the wall.