Showing 301 - 310 of 386 annotations tagged with the keyword "Mental Illness"
The philosophy student Kovrin is on the verge of a nervous breakdown. His doctor suggests a rest in the country and so Kovrin decides to visit his childhood friend Tanya Pesotsky on her father's estate. While there he tells Tanya the legend of the black monk: a desert monk whose image has been reflected in mirages for a thousand years and who will soon return in the flesh.
One day in the garden, the black monk appears to the young man. This gives him joy and energy, even though he realizes that it is a hallucination. "What harm is in it?" Kovrin asks himself. As the summer goes on, the black monk continues to visit. Kovrin asks Tanya to marry him, they wed and move to the city. At one point Kovrin's hallucinations and disordered thinking overwhelm him; he agrees to medical treatment which evidently cures his mental disorder. Yet, his feelings of energy and creativity also disappear, along with the black monk.
Kovrin realizes that he hates his wife and she hates him. She returns to her father and his beloved garden, while Kovrin receives a professorship, a position he never actually takes because he is too ill--he has begun to hemorrhage from the lungs. Soon after receiving news of his father-in-law's death, he sees the black monk again and dies of a hemorrhage.
The film covers two days in the life of Frank Pierce (Nicolas Cage), a burned-out EMT (emergency medical technician) working the socio-economic underside of Manhattan. From the beginning, Frank is upset because recently all his patients have been dying on him, and he is haunted throughout by the hallucinated ghost of Rose, a young woman who collapsed on the street and died, apparently because he could not intubate her correctly.
Frank is highly stressed, he has no life outside his work, and he is self-medicating with alcohol. He tries to quit, but his boss keeps him on by promising time off in the future. In the film's first action, Frank does manage to miraculously resuscitate Mr. Burke, a heart-attack victim, but the patient winds up in the hospital with a very bad prognosis, so even that "saving" works against Frank.
Frank has encounters with numerous patients, many of them street people whose lives are out of control, some of whom are ER (Emergency Room) regulars, such as the demented young Noel (Marc Anthony). He also deals with (and is dealt with by) several highly idiosyncratic EMT partners in his ambulance rounds (John Goodman and others). Frank gets to know Mary Burke (Patricia Arquette), the daughter of the heart-attack victim, and they tentatively move toward being a couple who might help each other survive their lives.
Near the end, Frank, who knows Mr. Burke had tried to tear out his tubes during a brief moment of consciousness, and who feels he has been getting pleading messages from him to end his agonies, surreptitiously takes him off life support long enough for him to die. The physician who responds to the code decides not to attempt resuscitation of this patient who had already been resuscitated 14 times that day. Frank goes to tell Mary that her father has died (but not how), and exhaustedly falls asleep on her breast, apparently having forgiven himself because he has in some sense finally "saved" Mr. Burke.
The first chapter of this memoir consists of two words: "I exaggerate." The narrator then tells us the story of her childhood and early adult experiences as an epileptic. After having her first seizure, at the age of ten, she spends a month at a special Catholic school in Topeka, Kansas, where the nuns teach epileptic children to fall without hurting themselves. This falling may or may not be literal; it is certainly symbolically apt.
During adolescence, Lauren begins lying, stealing, and faking seizures to get attention. She reveals that she has developed Munchausen's Syndrome, whose sufferers are "makers of myths that are still somehow true, the illness a conduit to convey real pain" (88). A neurologist, Dr. Neu, performs surgery severing Lauren's corpus callosum, effectively dividing her brain in half and markedly alleviating the seizure disorder.
Later she attends a writer's workshop where she begins an affair with a married man, a writer much older than she. After it ends badly, she starts going to Alcoholics Anonymous (although she does not drink) and tells her story with such authenticity that when she later confesses that she is NOT an alcoholic, no-one believes her, dismissing her true story as denial. The memoir ends both with her recognition of the value of narrating and with a silent fall to the snowy ground, as the nuns taught her to do, in the knowledge that the sense of falling (rather than the material certainty of landing) is all that is finally, reliably, real.
This is the second anthology from Donley and Buckley derived after many years of teaching "What's Normal?"--a literature and medicine course at Hiram College where they explore the cultural and contextual influences upon the concept of normality. With the first anthology, The Tyranny of the Normal, the editors focused on physical abnormalities (see this database for annotation). In this second anthology, the focus is exclusively on mental and behavioral deviations from societal norms. With this edition, Donley and Buckley present their case that, as with physical abnormalities, there is a similar tyranny of the normal that "dominates those who do not fit within the culture's norms for mental ability, mental health and acceptable behavior (xi)".
The anthology is divided into two parts. Part I is a collection of essays that introduce various clinical and bioethical perspectives on the subject of mental illness. These essays bring philosophic and analytic voices to the topic. Stephen Jay Gould's terrific essay on Carrie Buck and the "eugenic" movement in the United States in the early part of the 20th century illustrates one of the major themes that can be found throughout the anthology.
Oliver Wendell Holmes wrote the majority opinion in the 8-1 Supreme Court decision that sealed Buck's fate. Gould begins his essay reminding his readers of the often referenced Holmes quote, "three generations of imbeciles are enough." He then takes us on a fascinating historical adventure that uncovers a deeper and more complicated drama that led to this unfortunate period in American history, and the tragic incarceration and sterilization of Carrie Buck.
This essay, as with other stories, poems, and drama in the anthology, contemplates the relationship between societal values and mental illness, and illustrates how society through medicine can turn to the myth of "objective" diagnostic labels as a way to compartmentalize and control behavior and imaginations that are "abnormal." D. L. Rosenhan's essay from "On Being Sane in Insane Places" further illustrates the failure of the mental illness label. Irvin Yalom's story from Love's Executioner and Other Tales of Psychotherapy provides an example of what is possible when diagnostic labels are avoided, when health care professionals with power turn with humility, curiosity, and kindness toward others, substantiating that these qualities are far more powerful than statistical notions of "normal."
Part II is a collection of fiction, poetry and drama. Intended as a complement to part I, part II engages the reader in the lived experience of the narrators. It is divided into six sections. Section one considers children and adolescent experience of mental illness. Included are Conrad Aiken's "Silent Snow, Secret Snow," an excerpt from Susanna Kaysen's Girl, Interrupted (see annotation in this database), and an excerpt from Peter Shaffer's Equus (see annotation).
Section two includes stories that capture the world of mental disability and retardation. An excerpt from Of Mice and Men and Eudora Welty's short story Lilly Daw and the Three Ladies are included. Charlotte Perkins Gilman's The Yellow Wallpaper (annotated by Felice Aull; also annotated by Jack Coulehan) is in section three where women's experiences with mental disorders is the theme (these are annotated in this database).
Section four and five focus on men and mental illness. War experience is considered in the works of Toni Morrison and Virginia Woolf. Section six concludes the anthology. Alzheimer's disease and dementia are examined in Robert Davis's My Journey into Alzheimer's Disease, and in the story, "A Wonderful Party" by Jean Wood.
Summary:The narrator is a woman in an insane asylum addressing her doctor, whom she sees as "god of our block," taking care of all his "foxy children." His "third eye moves among us" making him seem powerful and all-seeing but remote. She keeps herself occupied making moccasins, giving her something to do with her hands.
The author first presents an introduction and rationale for the concept of using creative writing as therapy, either self-prescribed or as part of professional treatment. She then provides practical guidelines for starting a journal (Chapter 3), and for beginning to write poetry, fiction, and autobiography (Chapter 7).
The text includes an accessible introduction to images and metaphors--aspects of the craft--as well as to methods of capturing dream material (Chapter 6) for use in one's creative writing. The later chapters present therapeutic writing in various contexts--as group work (Chapter 9), or in various institutional settings (hospital, nursing home, hospice, and prison). There are examples of therapeutic writing, especially poetry, throughout the book.
Fourteen-year-old Kelly is torn between being "best friend" to her mother, who, though she is sprightly and lovely, seems to have withdrawn from adult relationships, and pursuing her own friendships and life at school. Her father, a pilot, is gone from home a lot of the time, so she and her mother live a fairly isolated life.
It is not until her mother is suddenly whisked off to the hospital at the end of one of the father's visits that Kelly learns there is something seriously wrong with her. No one, however, will tell her precisely what happened or what's wrong. She is sent to her grandmother's in Florida to wait out her mother's hospitalization, and for a time isn't even allowed to communicate with her mother by phone.
Eventually she learns that her mother is clinically depressed and has been suicidal. In the meantime she learns a great deal about coping with loneliness, uncertainty, and new adult relationships, with a strait-laced grandmother and a senile grandfather as well as a disabled young man, a neighbor in Florida, who takes her seriously and helps her find a new self-assurance in spite of--or perhaps in part because of--her difficult circumstances. Faced with a choice of boarding school or returning to a mother still in gradual recovery, Kelly firmly opts to live with her mother and learn about both the responsibilities and the limits of caring for a parent who needs love but not co-dependency.
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."