Showing 321 - 330 of 332 annotations tagged with the keyword "Marital Discord"
Summary:The narrator starts out at 300 plus pounds (disgusted with herself and remote from her husband). She takes swimming lessons and gradually acquires confidence in herself as she loses weight and inches. She sometimes refuses sex with her husband, starts to stand up for herself. But her swimming and diet become obsessive; she continues to lose weight and wants to disappear.
Bette is a poor spinster, a frequent visitor at her cousin Hulot’s household. When the story opens, the Hulot family fortune has been decimated by Baron Hulot’s mistress. He spends all his money on her, leaving his wife, Adeline, and daughter, Hortense, to struggle meagerly along. Hortense, whose dowry is shrinking daily, mindlessly amuses herself by teasing Bette about her "lover", the sculptor, Count Steinbock, who lives above Bette’s apartment. Bette treats the sculptor maternally but loves him with a jealous affection.
Hortense decides she must meet Steinbock and the two fall in love at first sight. Though Steinbock has little money, Adeline agrees to their marriage, but the engagement is kept from Bette. Baron Hulot’s mistress leaves him and he becomes invoved with Madame Marneffe, the wife of one of his employees.
Cousin Bette is bitter towards the Baron and his family because they treat her like a servant. When she hears about Hortense’s engagement to her friend Steinbock, she determines to destroy the whole family. Bette introduces Crevel (whose mistress Hulot once stole) to Madame Marneffe and he becomes a rival lover. Bette also anonymously has Steinbock imprisoned for his unpaid debts.
Meanwhile, Madame Marneffe seduces Steinbock. She then secures her power by telling each of her lovers that he is the father of her unborn child. Hulot reaches the end of the line shortly thereafter, when it is discovered that he has been stealing money from the government. Hulot’s brother dies of grief and Hulot himself goes off to live with a seamstress in the slums.
Madame Marneffe and Crevel also meet miserable ends. Several months later, Adeline discovers her missing husband while on a charity mission. He comes home, but soon seduces the maid. Adeline then dies, her emotional reserves exhausted.
Summary:This poem is one of several by Stephen Dunn in which the dynamics of married life are examined. The speaker begins by saying that in marriage "anything that can happen between two people" eventually will, including things that cause incredible hurt and pain. The couple portrayed in the poem stays together through tacit agreement; whatever the hurtful event, neither refers to it. Instead, conversation centers on harmless subjects such as the garden, work, and little aches. While living together in the same house, the couple remains separate because forgiveness is not forthcoming for the spouse who trespassed.
Dunn's poem describes the choreography of married couples after an argument. The narrative voice considers how silence is imposed, then broken and how two people eventually come together after an unpleasant exchange of words. There are, according to the speaker, unspoken rules and rituals. First, a long silence permeates: after all, "whoever spoke first would lose something." In this household drama there is meaning to the clanging of dishes, sleeping arrangements, and accidental touching.
Eventually, one or the other is careless, spontaneously and shamelessly breaking the Yalta-like stalemate with an observation about something ordinary such as a "cardinal on the bird seeder." An accidental comment secures a truce, bringing the couple together in sex, a "knot untying itself."
Susan and Matthew Rawlings marry in their late twenties and raise four children. When the youngest child goes off to school Susan, who quit her job to mother, does not experience the sense of freedom that she expected. She feels simultaneously as if she has nothing to do worth doing and never has a spare moment to herself. Her day is taken up in waiting for the children to come home, consulting with the maid or worrying about dinner. She becomes anxious and distant, pulling away from her husband, who begins to have affairs.
Finally, in order to get some time alone, she rents a hotel room every afternoon where she just sits and thinks. Her husband assumes she is having an affair and tracks her down. Knowing that his rational world will not recognize her "irrational" feelings she tells him that she is indeed having an affair. The next day, she returns to the room and kills herself.
Bud (Marlon Brando), a lieutenant in battle during World War II, is shot in the spine by enemy fire. A former college football star, he is now paraplegic. When the film opens, Bud has been in a veteran's rehabilitation unit for a year, flat on his back, bitter and depressed, with no will to help himself or to allow his former fiancee, Ellen (Teresa Wright) to resume their relationship. Ellen persists, enlisting the help of Dr. Brock (Everett Sloane), the rehab unit physician, who arranges for her to visit Bud.
Brock, a no-nonsense-tell-it-like-it-is doctor, hopes that the visit will finally motivate Bud to participate more actively in his own rehabilitation. He moves Bud into a ward with others like himself, where Norm (Jack Webb) and the other paraplegic veterans ("The Men") have developed a sardonic camaraderie; they don't allow Bud to wallow in self-pity.
Ellen convinces Bud that she still loves him and with her support and that of his fellow paraplegic vets, he progresses and does well. With some trepidation, and against the advice of Ellen's parents, Bud agrees to marry Ellen. The wedding and coming-home don't go smoothly--Bud loses his balance while trying to stand through the ceremony, and Ellen, stricken by the realization of what she has committed to, regrets the marriage. Bud runs off, returning to the hospital. In the end, Bud is forced to leave the sheltering cocoon of the hospital and decides to give his marriage another try; Ellen has reconfirmed her love for him and welcomes him back.
A depressed housewife, Eve White (Joanne Woodward), is brought by her husband (David Wayne) to consult a psychiatrist (Lee J. Cobb) because her behavior has been strange. Although she denies it, she has purchased uncharacteristically seductive clothing and has been singing and dancing in bars.
Her surprised doctor is soon confronted with a different but equally inadequate personality, the sexy Eve Black. He recognizes the case as an example of the rare condition, multiple personality disorder, and embarks on a course of psychotherapy in search of the woman's missing memories.
Eve's unhealthy marriage disintegrates when she chooses to remain in therapy rather than move away with her violent husband. Psychotherapy helps her to the repressed memory of an instance of childhood abuse: being forced by her mother to kiss the corpse of a dead relative. A third personality, that of intelligent, insightful Jane, slowly emerges to replace the other two. Jane establishes a new life with a loving man.
Summary:A woman named Kitty calls the doctor and reports that her husband has died. "Can you come over?" she asks. At the house he finds that the husband has been shot in the head. It is evident that the wife has killed him. The doctor reflects that Kitty "held the record for most abused woman in Taylor County." He remembers how many times he has seen her badly beaten by her husband. In the end he decides to "play God." He calls the police chief and reports the death as a "clear" suicide.
Summary:A daughter is haunted by recollections of strife between her parents, now dead. She sides with her mother in the weekly disputes over money--the overt manifestations of a difficult marital relationship and a life lived on the edge of poverty. But in the end, she recognizes that her father "was the son of a needy father" and that her parents "were each other's bad bargain, not mine."
Summary:The physician narrator is trying to elicit information from a female patient. The reader isn't sure what is wrong. The physician seems to suspect that she is having sexual/marital difficulties: she denies it. Wondering whether "I could slowly pan, with ophthalmoscope" the physician envisions uncovering the evidence of separate bedrooms in the patient's eyes. But all he has to go by is the body language of the woman, who sighs and twists her wedding ring "anti-clockwise"--as if her life were heading in the wrong direction.