Showing 291 - 300 of 494 annotations tagged with the keyword "Women's Health"
Katherine, heading for her senior year in high school, finds herself strongly attracted to Michael, a friend's friend, after a party. As their relationship unfolds, the issue of sex comes up early on, more as an emotional and health issue than as a moral one. Both of them are aware that physical intimacy is both common and complicating. Michael has been sexually active, Katherine hasn't. Their relationship progresses slowly; they are accompanied on various meetings by her friend, Erica, a grounded, practical, wit who has known Katherine all her life, and Michael's friend, Artie, who, with Erica's help, explores and acknowledges some uncertainty about his own sexual orientation.
When they do, by mutual consent, have sex on a ski weekend with Michael's sister, they are sure it seals a love that will be "forever." However, separated for the summer by work that takes them to two different states, Katherine finds herself aware of the limitations of the relationship and ultimately attracted to a tennis instructor, older, more experienced, and interesting in new ways. She takes responsibility for breaking the news to Michael when he comes on a surprise visit and, the summer over, recognizes the loss as a stage in movement toward more complex, probably more satisfying relationships in the future.
There are two parts to this six-page story. In the first part, an illiterate peasant woman hires a local man to write a letter to her daughter, who had married and moved to Petersburg four years earlier. The peasant woman had heard nothing from her daughter since then. She pours all her love into a few words of Christmas greeting, although the scribe adds a bunch of meaningless nonsense to fatten the letter up.
In the second part, the letter has arrived at the hydropathic medical establishment where the son-in-law works as a porter. He brings the letter to his wife, who is in their apartment caring for their three small children. Upon reading the letter, she bursts into tears and cries out, "Queen of Heaven, Holy Mother and Defender, take us away from here!"
Her husband recalls that several times she had given him letters to send to her parents, but he never bothered to do it. In the end the wife stops crying, obviously "very much frightened of him--oh, how frightened of him!"
Three stories are intertwined in this complex novel; in the end, they become one. In a series of flashbacks, the elderly Iris Chase Griffen writes of her long life. At the outset, newspaper clippings present three tragic deaths from 1945 to 1975: sister, husband, and daughter.
Iris's pretty, younger sister, Laura, died at age 25 when she drove her car off a bridge. Two years later, Iris published Laura's novel, Blind Assassin, to critical acclaim, projecting the author to posthumous fame. Only weeks later, Iris was widowed when her husband drowned. Then many years later, Iris's daughter, Aimée, breaks her neck and dies from the ravages of drug and alcohol abuse. Iris also loses care of her only grandchild, four-year old Sabrina. Iris looks back on the circumstances before and after these deaths.
Growing up in small-town Ontario without a mother, Iris was expected to look after Laura. But the younger girl's guileless intensity inspired exasperation and jealousy, as well as affection. In the 1930s, the sisters managed to hide a young radical, Alex Thomas, in the family attic before he escaped to Spain; they both fell in love. But at age nineteen, Iris is forced to enter a joyless marriage to wealthy Richard Griffen out of obedience to her father who hoped that the union would save his factory. It did not.
Laura is bossed by the politically ambitious Richard and his domineering sister, Winifred. Defiance and maternity allow Iris to carve out her own space within the confines of the social situation. But she is increasingly estranged from the romantic, inscrutable Laura who is eventually sent to an "asylum" where she has an abortion. Upon her release, the sisters reconnect, only to hurt each other with painful revelations (unrevealed here to avoid spoiling the effect for readers; some will have guessed them in advance).
The other two of the three stories stem from Laura's acclaimed novel "Blind Assassin," parts of which are interspersed. On one level, it relates the passionate affair of a refined woman (very like the author) and a political fugitive (very like Alex) who meet in his sordid hiding places. On another level, it is an Ali Baba-esque fairy tale, invented by the lovers, about a cruel society in which child-labor, ritualistic rape, and human sacrifice are routine. The killers are children who have been blinded by their enforced work knotting beautiful rugs.
The young and upwardly mobile engineer, Joshua Jeavons, is obsessed with finding a solution to the water problems of 19th-century London. He spends almost every spare moment drawing and re-drawing maps of his precious drainage plans destined to save the city from the stench of effluent, which everyone believes is the source of cholera. His boss, Augustus Moynahan, is unimpressed with Joshua's plans, but allows him to continue analyzing sewers and drains. They work in conjunction with a master plan of coercive bureaucrats, led by Edwin Sleak Cunningham and manipulated by private interest.
Joshua has married the boss's daughter, Isobella, who had seemed more than eager to have him over her father's objections; however, she rebuffs all his physical attentions and the marriage is unconsummated. Brimming with sexual need and self-pity, Joshua continues a sporadic liaison with a friendly prostitute, all the while resenting what he decides must be his wife's infidelity.
When Isobella vanishes on the night of a disastrous dinner party, Joshua's fortunes plummet. He is reduced to poverty and shame, as he replaces his first obsession with the quest for his lost spouse--to reclaim her or kill her, he knows not. But his contact with urchins and beggars brings him to discover the real causes of pollution and disease--both environmental and moral.
A young art student falls off a ladder and literally lands into the arms of a middle-aged doctor. Daisy Whimple is a poor, homeless woman with multiple body piercings. She has volunteered to decorate the Gynae Ward of the hospital where she had once been a patient undergoing surgery for a complicated abortion.
Dr. Damian Becket is an obstetrician and gynecologist. He is a lapsed Catholic who is separated from his wife. Becket is interested in modern art and attracted to an art historian, Martha Sharpin. The hospital has a collection of medical antiquities in need of cataloging. Some of the pieces are treasures but others are horrible relics. Martha is in charge of organizing the collection, and Daisy is paid to assist her.
Because she has nowhere to live, Becket invites Daisy to stay at his apartment. They make love every night for one week until she leaves. While attending an art exhibit, Becket and Martha spot a sculpture of the goddess Kali. The figure is comprised of artifacts "borrowed" from the hospital's collection including prosthetic arms, antiquated instruments, and body parts. It is designed by Daisy.
The sculpture is not the only unexpected thing created by Daisy. She is pregnant by Becket. Daisy requests an abortion but he insists that she have the baby. The pregnancy is almost miraculous given the damage done to Daisy's fallopian tubes from her previous abortion. It turns out to be a difficult delivery and Becket must perform it since he is the most qualified obstetrician at the hospital. The baby is a healthy girl. The newborn child radically changes the lives of Daisy, Becket, and Martha, yet the three of them have no clue what to do next.
Winterbourne, an American who has been living in the decorous city of Geneva, visits his aristocratic aunt in Vevey (Switzerland) and there meets a lovely American "girl," Daisy Miller, traveling with her ineffective mother and undisciplined younger brother. Daisy puzzles Winterbourne by her apparently artless combination of "audacity" and "innocence," as when she arranges that he should take her, alone, to see a castle. Later, in Rome, Daisy befriends what Winterbourne's aunt calls "third-rate Italians," in particular Mr. Giovanelli. She refuses the anxious advice of her friends in the American "colony" there, and her adventures escalate: walking alone with Giovanelli, unsupervised tête-à-têtes with him.
When Winterbourne finds Daisy lingering with Giovanelli, near midnight, in the Coliseum, he is relieved that the enormity of her behavior here allows him to place her at last, but he warns her of the "villainous miasma" of the arena nonetheless. Sure enough, Daisy sickens and dies of malaria--but a word from Giovanelli at her graveside convinces Winterbourne that he and the others wrongly condemned her all along. Daisy Miller was, after all, not "bad," but simply a "pretty American flirt."
The now famed American poetess, Sylvia Plath (Gwyneth Paltrow) is a Fulbright scholar at Cambridge, England in 1956. Angered over a stinging review of her work by the literary roué Ted Hughes (Dennis Craig), she is then charmed by his poetry and blatantly sets out to seduce him. They marry soon after.
Sylvia had tried to commit suicide several times in her youth. Recalling one terrifying near miss, her cold-seeming mother resents Hughes, sensing the power in passionate love to harm her fragile, brilliant daughter. The initially torrid life that Ted and Sylvia share in both America and in rural Britain, grows tired through the strain of two children, her lack of joy in teaching, and his greater poetic success, all of which seem to stifle her creativity.
It ends because of his chronic infidelities, reduced in this version to a committed affair with a mutual friend, the thrice-married, Assia Wevill (Amira Casar), who becomes pregnant. Rage, jealousy, and depression become Sylvia’s muse. The more she suffers with Hughes, the more productive and poignant is her work. Unable to lure him back, she leaves buttered bread and milk for her children, seals the kitchen, and gasses herself to death.
Martin Nanther is a member of the British House of Lords, having inherited his title from his great-grandfather, Henry. Physician to Queen Victoria, Henry specialized in hemophilia, the disease that Her Majesty was known to have passed to her son, Leopold, and other descendants. While the House of Lords considers a Bill to abolish hereditary peerage and Martin's much younger, second wife is obsessed with becoming pregnant, he escapes into his slow research for a biography of Henry
His patient genealogical investigations uncover deaths in infancy of several young boys in his own family, and Martin soon realizes that hemophilia (rather than the family's legendary tuberculosis) is the cause. Was that irony merely a coincidence? Or was hemophilia in his own lineage the impetus for his grandfather's research and position in life? And why was the disease hushed? Was it possible that his grandfather deliberately sought a bride with the trait in order to investigate it in his own progeny?
Martin soon finds himself wondering if this well-respected, medical man actually committed murder, or was he merely waylaid by unexpected love? Without giving too much away, suffice it to say that the answers prove so surprising and so disturbing, that Martin decides to abandon the biography of his ancestor, even as he learns that his inherited peerage has been revoked and that his next child will soon be born.
Deserted by her husband, who teaches in a bucolic, private school for the visually impaired, Candida is a 50-ish, unemployed woman, estranged from her three daughters, at least two of whom blame her for the failure of her marriage. To the astonishment of everyone in her sphere, she embarks on a completely new, though modest life in a tiny, walkup flat in one of London's immigrant communities. Her consciously passive efforts to find new friends and discard old ones leads her to keep a diary, to take a night course on Virgil, and improbably--when the night school closes--to join the Health club that replaces it.
Eventually, she assembles six new friends--the seven sisters--for an Aeneas-like journey from Carthage to Rome, with plans to consult the Cumean Sybil en route. Illness draws her closer to her middle daughter, Ellen, whose own perspectives on her parents' marriage contrast with those of her mother. Illness also forces an abrupt end to the travels. Candida wrestles with the issues of survival, suicide, and the meaning of life for an aging woman in an aging body whose entire purpose had once been helpmeet and mother. Can any other purpose be found?
A woman describes the male body, beginning with the torso--neck, chest, belly, genitals--then the appendages, the back, and finally the head. Her description features the appearance and uses of these anatomical parts from the perspective of female taste and needs. The essay is illustrated with strategically placed images of the human form in exotic settings, taken from Bernard Siegfried Albinus's remarkable treatise of anatomy of the mid-eighteenth century.