Showing 291 - 300 of 387 annotations tagged with the keyword "Narrative as Method"
This poem employs language in ways that are characteristic of the involuntary outbursts seen in patients with Gilles de la Tourette's syndrome. The devices include frequent obscenities, word repetition, and a jerky, spasmodic forward motion. The male Tourette patient is thwacking "the roof of the car, knuckles / calloused and winking . . . " He is driving with his wife beside him, patting her thigh, "her thighs are warm as kettles, your palms moist / as hiss . . . " Whatever it is that happens in the last stanza, he becomes excited, "god damn, god fucking / damn, and god bless." [30 lines]
The narrator, Latimer, begins the story with a vision of his death, which he attributes to a heart attack. He explains that, always sensitive after a childhood eye affliction and his mother's death, the further shock of a "severe illness" while at school in Geneva enabled him to see the future, and to hear others' thoughts--an experience which he describes as oppressive. He is fascinated by his brother's fiancée, Bertha, the only human whose thoughts are hidden from him, and whom he marries after his brother dies in a fall.
The marriage falters after Latimer eventually discerns Bertha's cold and manipulative nature through a temporary increase in his telepathy. When Latimer's childhood friend, the scientist Charles Meunier, performs an experimental transfusion between himself and Bertha's just-dead maid, the maid briefly revives and accuses Bertha of plotting to poison Latimer. Bertha moves out, and Latimer dies as foretold.
Philip Carey, the central character of this early 20th century Bildungsroman, is both an orphan and afflicted with a club foot. He is sent at age nine, after the death of his mother, to live with a childless uncle--a deeply religious Vicar--and his submissive aunt. They have no idea how to be parents, so send Philip away to a boys' boarding school where the child begins to learn what it means to be less than physically "perfect." The remainder of Philip's development is cast in this light.
He roams about looking for himself and his place--to Germany to learn languages, to London to learn a trade, to Paris to study art, and finally, as a last resort, a default decision to follow in the steps of his father the physician. A major part of Philip's maturation is based in making decisions about women and about sensual love. The most painful portions of his story are those that evolve around his stumbling and frequently failed attempts to find security in his personal relationships.
Ruth Picardie was a journalist working in London. Shortly after her marriage in 1994 to Matt Seaton, also a journalist, she found a breast lump. After testing, she was told it was benign. Two years later, and a year after giving birth to twins, the lump enlarged and this time she was diagnosed with advanced, inoperable breast cancer. She rapidly developed bone, liver, and brain metastases and died in September 1997, aged 33.
This book consists of a selection of Picardie's e-mail correspondence during the last year of her life, the columns she wrote for the Observer newspaper (a series about dying she called "Before I say goodbye"), readers' letters responding to her column, and an introduction and epilogue by her husband. While not, then, strictly a memoir, this collection of texts constitutes an intimate view of a witty, angry young woman undergoing an intolerable illness.
The expected elements are there: diagnosis, chemotherapy, radiation, hope, the loss of hope. What is unexpected is the way these are presented, and the vividness with which we share the prospect of saying good bye to her children, her gradual detachment from her husband, and, as the brain metastases spread, the loss of coherence and the appalling silencing of her powerful voice.
Fridolin, a doctor, and his wife, Albertine, have been married for a few years and are the parents of a much adored little girl. In a moment of unusual frankness, they decide to confess all their temptations and adventures to one another. Albertine admits that she deeply desired a blond Dane encountered in the previous summer. Fridolin professes to welcome this news and tells of similar attractions. They promise to confide the sexual adventures of their waking and dreaming states.
But Fridolin is not at ease. The idea that his wife desired another-even in a dream-inspires a jealous energy that sends him in search of adventures that will reassure him of his own desirability and hurt if not repudiate Albertine. On the pretext of a house call, he wanders, masked and unmasked, through the decadent private clubs and cafés of night-time Vienna. He toys with the dismal daughter of a patient, an "unspoiled" prostitute, and a sophisticated matron--none of whom he actually claims, all of whom remind him of his wife, one of whom dies, he believes, in protecting him.
Uncertain if his adventure was reality or dream, he returns with tenderness to Albertine, although he has repeatedly vowed to leave her. He tells his entire story; she listens with better grace than he would have done. Then he asks what they should do. She replies that they should be grateful to have "emerged safely from these adventures" . . . "neither the reality of a single night nor even of a person's entire life can be equated with the full truth about his innermost being." "And no dream," he responds "is altogether a dream." (p. 98-9). They begin another day.
This story is claimed by its narrator to be a chapter in his biography of the Russian writer, Nikolai Gogol. He begins by saying he knows some intimate details of Gogol's life and that as his biographer he feels obligated to reveal them, though as his friend he might have kept all this to himself.
After setting the reader up for some perhaps prurient "facts," the narrator tells us that Gogol's wife was a life-sized balloon, anatomically correct and quite voluptuous. Claiming to be the only person besides Gogol who has ever seen this creation, the narrator goes on to tell us an occasion where he heard her speak. He describes how she developed her own personality, in spite of the fact that she was a balloon, and that she even contracted syphilis, which subsequently infected Gogol.
The narrator and Gogol are celebrating the silver anniversary of Gogol and his wife when the novelist gets insanely irritated with her, inserts a bicycle pump into her, and inflates her until she explodes. Gogol then throws the rubber pieces into the fire (much as he had burned his manuscripts earlier). He also throws into the fire a balloon baby boy. The story closes with the narrator again defending his position of biographer, providing the truth about Gogol to the reader.
Helen Reed, a novelist, newly widowed, moves to the University of Gloucester for a semester to teach creative writing. There she meets Ralph Messenger, professor of cognitive science. Their relationship is set within a web of complex professional and family connections, most of which focus on variations of adultery. Everyone has a secret. Helen learns by reading the novel-in-progress of one of her students that the student had had an affair with her husband.
Ralph, awkwardly involved with a Czech grad student who is trying to blackmail him, is regularly unfaithful to his wife, who is in turn having an affair. Another scientist is addicted to on-line child pornography. Helen and Ralph eventually become lovers, until Ralph is found to have a lump on his liver (which later turns out not to be cancer) and then betrays Helen by reading her private journals. She then returns to London and he remains with his wife.
I am a sick man . . . I am a spiteful man. So opens the first part of "Notes from Underground," in which the narrator describes his character and psychological states. He is a low ranking public official, 40 years old, who lives alone in a small room. When he received a small inheritance, he immediately quit his job and now spends his time ruminating about who he is and what his life means.
This narrator does not simply accept the laws of nature. He dislikes "the fact that two and two makes four." He realizes that he cannot break down the wall of nature "by battering my head against it," but nonetheless "I am not going to resign myself to it simply because it is a stone wall and I am not strong enough." (p. 12) He is proud of never having begun or finished anything. (p. 17) In fact, "what man needs is simply independent choice, whatever that independence may cost and wherever it may lead." (p. 23)
The narrator is "underground" because he has chosen not to participate, not to accomplish, not to interact, not even to justify his non-participation in "ordinary" life. Yet, he is bored, and so he chooses to occupy himself by writing these notes.
The second part is less rumination and more narrative, as the protagonist describes some seminal events in his life. When he was a young clerk, he was a loner with no friends. One day he decided to visit Simonov, an old school acquaintance, who happened at the time to be planning a dinner with some friends to honor another friend, Zverkov, who had done well in the military. The protagonist awkwardly invited himself to this dinner, despite having no money to pay for it, and later, after being thoroughly obnoxious and insulting his hosts, he followed them to a brothel, where he encountered a whore named Liza and conned her into thinking that he cared for her.
When she appeared at his apartment a few days later, he angrily told her that the "fine sentiments" were all false: "I was laughing at you!" When Liza then ran away, the narrator became agitated and tried to follow, but quickly dropped the idea. "Would I not begin to hate her, perhaps even tomorrow, just because I had kissed her feet today? Would I give her happiness? Had I not recognized that day, for the hundredth time, what I was worth?" (p. 113) At this point he breaks off, saying that he chooses not to write any further notes form underground.
This is one of the two dozen studies of patients with right-brain disorders that make up Sacks's volume The Man Who Mistook His Wife for a Hat. The nineteen-year-old Rebecca has significant physical and mental defects (her IQ is 60 at best), and by conventional neurological standards she is severely impaired, but Sacks discovers that she has moments of being quite in touch and "together" (her word).
The essay tells of Sacks's discovery of Rebecca's poetic expression and spiritual qualities, and of her self-awareness, in planes unknown to standard neurological and psychiatric categories. Sacks is broadly critical of psychological and neurological testing as constituting a "defectology" that is blind to important human qualities. He warmly recommends music and story-telling, both as modes of understanding and also as narrative therapies that work by ignoring the defects and speaking to the soul.
The narrator stands working at her ironing board, responding mentally to a request someone (a teacher? a social worker?) makes of her regarding her daughter Emily, "I wish you could manage the time to come in and talk with me . . . She's a youngster who needs help." The woman's thoughts go back to Emily's birth during the Depression when she was only 19, and her thoughts range forward, haltingly, in piecemeal fashion, through her daughter's difficult childhood.
Due to the wages of loss, poverty and dislocation, a wall has grown up between mother and daughter--she has always wanted to love the sickly, awkward, stiff, and isolated girl, but has not been able to penetrate the wall. And then, she recalls, out of nowhere Emily won first prize in her school amateur show. The girl is a natural performer, a wonderful comedienne, who now is in demand throughout the city and state.
Suddenly, Emily appears on the scene. "Aren't you ever going to finish the ironing, mother?" She says that she wants to sleep in the morning, even though this will make her late for mid-term exams. Near the end of the story the narrator imagines telling her interlocutor, "Why were you so concerned? She will find her way." But then she implores, "Only help her to know--help make it so there is cause for her to know--that she is more than this dress on the ironing board, helpless before the iron."