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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.
In early 1847, the young Quebec city doctor, Lauchlin Grant, struggles to extract a living from his boring practice and pines over his childhood sweetheart, Susannah. She is now the wife of a prominent journalist, Arthur Adam Rowley, who has charged Lauchlin with her care, while he travels in Europe to report on the ghastly potato famine in Ireland and his predictions for its effects on immigration.
Even as Rowley's letters are read at home, waves of starving Irish land at Grosse Ile in the St. Lawrence River where thousands are ill or will sicken of ship fever (typhus), and die. Lauchlin is called to help at the quarantine station. Of the hundreds in his care, he rescues only Nora. Having lost her family, Nora decides to remain as a nurse, because she is now immune.
Lauchlin sees Susannah only once more, learning that she too cares for victims of typhus, which is also ravaging the mainland, despite the quarantine. He senses her unspoken love for him and, filled with an inner peace, returns to Grosse Ile, only to contract typhus and die. Nora takes the doctor's belongings to Susannah's home, hoping to meet the woman whose name he had mumbled in his delirium. Instead, she finds Susannah's newly returned husband dreading the loss of his now dying wife.
Armadale is of interest for several reasons. First, the novel centers on issues of fate. Are our destinies determined, or can they be altered? The two heroes of the novel, Ozias Midwinter and Allan Armadale, are born under a curse. Midwinter's father murdered Allan Armadale's father. On his death bed, Midwinter's father warns that if these two sons ever meet, tragedy will occur. Midwinter learns the story and is uncertain whether to leave Allan or to work at changing their fate. Collins does not offer a solution, but provides plenty of opportunity for discussion.
Second, there is a doctor in the novel whose behavior is unethical to say the least. When the reader is first introduced to him, he is running a clandestine abortion clinic. When that operation is shut down by the police, he opens a private sanitarium. He privately confesses to being utterly uninterested in his patients' health. He only wants their money.
When the local ladies come to tour the facilities he espouses a system of liberal care, including dances, fine meals, and edifying concerts on Sunday evenings. However, the building is laid out with an intricate system of pipes that allow the doctor to keep his patients continually sedated. At the novel's end, the doctor helps plan a murder using those pipes.
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.
Edna Pontellier, an aristocrat from late nineteenth-century New Orleans, goes on vacation with her husband and children. There she meets and falls in love with Robert Lebrun. She also learns to swim, returns to her painting, and listens to the passionate piano playing of eccentric Mademoiselle Reisz. For the first time, Edna feels alive.
When she returns to New Orleans, she is unable to fit herself back into her social role. She defies her husband and ignores her friends. When her husband leaves town, she sets up her own house with money she has earned from her increasingly adept painting. She has an affair with the town seducer.
When Robert returns from a trip abroad, they passionately embrace. But Robert can not bear the stigma of adultery. He leaves her again. Edna returns to the vacation site and drowns herself.
This is a fascinating book on the relationship of science, medicine, and medical education to the rise of modernism in literature. Crawford uses Williams' work to connect the worlds of literature and medicine. He discovers in Williams' early poems and stories the dominant themes of clarity, cleanliness, objectivity, and authority; these themes also characterize early 20th century science. In Williams' later work, Crawford shows how the poet moved toward a more subjective and relativistic aesthetic, a change that reflects subsequent developments in science, especially physics, and signifies the emergence of "post-modernism" in literature.
Williams' first principle was clarity. As a physician, it was important that he observe human reality with a clear eye so that he could intervene to transform it. Direct apprehension of reality was also for him the source of poetry. He found beauty in the concrete experience of everyday life, but was skeptical of theories and abstractions. Along with clarity, cleanliness and objectivity also characterize Williams' worlds.
But clarity is not, in reality, so clear. To see clearly in a medical way, the physician must first learn to observe the world in a specialized manner in the "theater of proof," a metaphorical extension of the stage on which professors demonstrate anatomical structures or surgeons demonstrate operations. Like medical educators, the poet also creates a theater of proof. While the reader may experience clarity and simplicity in the poem, these effects are actually staged by the poet, who chooses "clean" words and manipulates reality to achieve the desired simplicity. In both medicine and poetry, the practitioner unveils the truth by using manipulative and authoritarian techniques.
In the last chapter, Crawford shows that Williams' later work presages a post-modern, relativistic world. While the earlier Williams speaks of clarity, simplicity, science, and authority, Patterson and the post-World War II poems reveal complexity, fragmentation, and subversion.
Doctor Richard Diver is a young neurologist already gaining great respect for his work. One day, he visits his friend Franz in Zurich. Franz is treating a young American girl, Nicole Warren, who was sexually abused by her father and has suffered a breakdown. Nicole is attracted to Diver and writes him letters after he leaves the clinic. When she is almost cured, Diver returns to the clinic and decides, rather haphazardly, to marry her. Nicole comes from a wealthy family and the couple begin to travel around Europe.
They settle briefly in a cabin by the French Riviera and aim to live quietly so that Dick can finish his great treatise. Nevertheless, Dick's easy-going, giving nature attracts a band of followers. When Rosemary, a budding American film star visits their town, she too is drawn to him. She tells him she loves him but Dick remains true to Nicole.
Several years pass during which Dick still does not finish his writing and indeed does very little towards that end. Nicole suffers several relapses. When Dick runs into Rosemary again, they have an affair. Nicole also takes a lover and finally leaves Dick who has become increasingly dissolute. He drinks most of the day and does nothing.
Summary:Montilice, a tiny mountain village in post-World War II Italy, is the setting for this stunning novella. The narrator is a 60 year old priest who is haunted by the request of Zelinda, a woman new to his parish and slightly older than he. It takes the priest a while to get to the essence of Zelinda's request, for she initially approached him with seemingly odd concerns about marriage and divorce. But later he realizes that her inquiries about exceptions to church dogma have to do with the taking of one's life. Zelinda was tired of her existence (as a washerwoman her life was "a goat-life. A goat-life and nothing else . . . ") and she wanted to "finish up a little sooner."
Summary:In this autobiographical novelization of a seven-year psychoanalysis the protagonist recounts the life story that led to her psychosomatic symptoms, and the medical and psychiatric story that led to her analysis. Her early relationships, particularly with her mother, her life in French Algeria in the 1930's to 1950's, and her adult relationships as wife and mother, are told through the associative processes of psychoanalysis as the protagonist grows into a healthy, fulfilled woman and writer. Cardinal beautifully illustrates the joy and rebirth in finding the words to say it.
Kathleen Hackendorf is the funny, strong heroine of Thea Astley’s Coda, a book built around two eternal questions, "What are we going to do with Mother?" and, from the elderly person’s point of view, "What am I going to do with myself?" Kathleen wants to remain on her own despite her growing awareness of her frailties. But when she begins getting lost and when the government requires her house as right-of-way for a road, Kathleen calls on her children for help.
They, who she says have "the empathy of a piranha" (164), will not take her in; Sham and her husband finally "book" Kathleen into a retirement village called Passing Downs, which Kathleen describes as "fucking awful" (169), where she stays, wreaking havoc at every opportunity, for two nights. We last see her wandering the city, being mugged, and, finally, literally and metaphorically, "taking the ferry to the island."