Showing 311 - 320 of 435 annotations tagged with the keyword "Depression"
When Gerald is three, his mother, a drug addict, leaves him alone one time too often and he accidentally sets the apartment on fire. His mother is imprisoned for negligence, he goes to the hospital, and thereafter lives with "Aunt Queen," a great-aunt who exercises considerable authority from her wheelchair, and gives him all the love his mother hasn't.
When he is 9, however, his mother returns with a new sister and a man who claims to be the sister's father. They want to take him "home"; Gerald wants to stay with Aunt Queen. The matter is settled unhappily when Aunt Queen dies of a heart attack.
Gerald soon learns to despise his stepfather for his violence and, eventually, for the abuse of his half sister, which she hides out of fear until she's driven to confess it to Gerald in hope of his protection. Their mother remains in denial about that problem as well as her own and her husband's addictions to alcohol and drugs.
Caring for his sister, however, keeps love in Gerald's life. In defending her one last time, the apartment catches fire and his stepfather is killed. As he, his sister, and his mother ride away in the ambulance, a flicker of hope survives in the darkness for another new chapter in family life, this time without violence.
This translation of Akhmatova’s poem contains only 79 words, including articles and prepositions. There are 12 lines, consisting of a small number of sentences and parts-of-sentences. Why is it worth including in this database?
With a few words, the author sketches the lonely city at night, then comments, "Some good-for-nothing--who knows why--/ made up the tale that love exists on earth." What is the result of this story? Most people, in fact, believe that love exists, and they organize their lives around this belief. They sing, they dance, "they wait eagerly for meetings." The truth that love does not exist is a secret, which only "reveals itself to some . . . " Unfortunately, "I found this out by accident / and now it seems I’m sick all the time." Thus, the poem begins with a fiction (love exists) that seems to make most people happy, and it ends with a fact (love does not exist) that causes sickness rather than happiness. [12 lines]
Tim Metcalfe is an Australian general practitioner who gave up medical practice to become a full-time poet and writer. A statement on the back cover summarizes the process in relation to this collection of 38 poems: " ’Cut to the Word’ is a moving account of one man’s transition from doctor to poet." He begins with the customary initiation: "We were introduced, respectfully, / to the volunteer dead . . . " (p. 13) He discovers the limitations and uncertainties of his new profession: "In tense moments / I wish my stethoscope / was all they want it to be." (p. 18) And the omnivorous demands of medicine: "I come home from work / and there it is: the family / the oldest crying / at the youngest crying / at her mother’s anger / at her crying . . . " (p. 21)
Metcalfe carries the reader through a series of short, incisive poems describing the doctor’s day-to-day work ("Morning Session, " pp. 47-50), as well as through a number of disturbing poems about the world of mental illness, but the book’s climax--so to speak--arrives with "The Doctor’s Complaint, " in which the physician heals herself "by laying down her stethoscope / and walking right out / of that in-patient clinic." At the end the poet writes, "Like a patient I have learned silence . . . Fine steel scissors in hand, / I cut to the word." (p. 63)
En route to the way to the Trojan War, warrior Philoctetes, wielder of the bow of Heracles, is bitten by a poisonous snake at the shrine of the goddess Chryse. The infected wound becomes so painful that Philoctetes’s screams of agony repel the Greek commanders, who order Odysseus to leave him on the island of Lemnos. Ten years later (the time of the play’s opening scene), Odysseus returns to Lemnos with Neoptolemus, son of the now-dead Achilles, to retrieve Philoctetes’s bow. It has been prophesied that only with this bow can Troy be conquered.
Promising him glory and honor, Odysseus convinces Neoptolemus to win Philoctetes’s trust and take the bow. Philoctetes, delighted to see any human and especially another Greek, shares his story with Neoptolemus, begs him to take him back to Greece, and entrusts him with the bow when he is overcome by a spasm of pain.
Deeply moved by witnessing Philoctetes’s misery firsthand, Neoptolemus confesses the truth to him, but tries to persuade Philoctetes to accompany him to Troy. When Odysseus appears, Neoptolemus returns the bow, declaring that only with Philoctetes himself wielding it will the prophesy be fulfilled. He asks forgiveness, and invites Philoctetes to come back with him to be healed and then on to Troy to contribute to the battle. The only thing that ends Philoctetes’s refusal is the sudden appearance of Heracles, who announces that Philoctetes and Neoptolemus must join together to take Troy.
This poem is in memory of poet, John Logan (1923-1987), who, it is surmised, killed himself by jumping off a building. The speaker of the poem imagines what might have been troubling Logan, who had been disabled by strokes.
Sisters Elinor and Marianne Dashwood suffer similar reverses in appearing to lose the affection of their chosen suitors. But whereas Marianne indulges her exorbitant sensibility in her relationship with, and loss of, her suitor Willoughby, Elinor's quiet good sense enables her to bear up when it seems her suitor, Edward Ferrars, will marry another woman. Austen rewards Elinor with Edward's hand, while Marianne must be content to learn to love a steadier husband, Colonel Brandon.
This memoir is DeBaggio's first-person account of his early experience of Alzheimer's disease and its effect on his life and the life of his family. The book is a collection, in loosely narrative form, of the author's diagnosis of early-onset Alzheimer's; brief excerpts from his journal; excerpts from the medical literature on the disease; and memories from his past that he wants to commit to paper before he can no longer recall them. He documents his struggle simply to write the book, as it becomes more and more difficult to sustain thoughts or find the words to express what he wants to say.
Daughter of a wealthy businessman, tall, beautiful Emily Stockwell Turner falls out of love with her stolid professor husband, Holman, halfway through their first semester at a small college for men in northern New England. She is lonely and miserable in this remote place. Encouraged by her confidante and fellow faculty wife, Miranda, she embarks on a secret affair with the college musician, Will Thomas.
Divorced and sexually experienced, Will initiates Emmy into the powerful romance of physical love. But their on-again, off-again relationship is fraught by its own secrecy, Holman's jealous suspicions, Will's infidelities, Emmy's lies, Miranda's disingenuous disinterest, and the not-so-irrational hatred that Freddy, Emmy's four-year old son, bears Will.
Emmy and Will take ever greater risks with their clandestine encounters; eventually they admit to being truly in love and she decides to join him in his move to New York City. But Holman falls ill and nearly loses his contract position at the University when he tries to kill a student demonstrator whom he wrongly suspects of being Emmy's lover. Emmy postpones her departure indefinitely, because Holman "needs" her more.
Written by a medical historian who is also a physician, The Breast Cancer Wars narrates how breast cancer diagnostic methods and treatments have developed from the early twentieth century. More significantly, the book describes the debates and controversies that permeated this evolution and the ways in which not only clinicians and researchers, but, increasingly, women patients/activists shaped how we view, diagnose, and treat breast cancer today.
Individual chapters explore the influential (and ultimately contested) radical mastectomy procedure of William Halsted, the development of the "war" against breast cancer as a full-blown campaign developed and conducted within the public media and consciousness of the United States as well as within medical practice and research, the intertwined development of feminism and breast cancer activism, the "fall" of the radical mastectomy, and the continuing controversies surrounding mammography and genetic testing as modes of early detection and risk assessment. Lerner draws on a range of primary sources including texts from the archives of the American Cancer Society, the papers of doctors and patients, and advertisements from popular and professional magazines throughout the century.
Unmarried, fifty-four year-old Virginia Miner (Vinnie), a professor at Corinth who specializes in children's literature, is off to London for another research trip. Her work has been trashed by a Professor L. Zimmern of Columbia and she is hoping to produce an important new book about playground rhymes that will restore her reputation and confidence.
A 'pro' at long flights, her serenity is ruffled by her seatmate, a garrulous married man, Chuck Mumpson, of Tulsa who wishes to chat. She puts him off with difficulty. But the smoking and drinking Chuck is persistent. He could use help with a research trip of his own to trace his family history. Vinnie slowly becomes involved with his project, and then with him.
Meanwhile, her young colleague, Fred Turner, has left his wife, Roo, at home for his own sabbatical; they have quarreled. Soon, he consoles himself with the affections of Lady Rosemary Hadley. Quite by accident and with the encouragement of Chuck, Vinnie becomes an emissary for Fred's estranged wife in an improbable midnight walk on Hampstead Heath.
Just as she begins to think Chuck's affections have cooled, because of his silence of several days duration, she is visited by his daughter who describes his sudden death while climbing the stairs of a small town hall. When her publisher patronizes his memory, she realizes with surprise that he loved her and she loved him. She returns to her life in Corinth, solitary and unloved, but altered for having loved and been loved.