Showing 331 - 340 of 436 annotations tagged with the keyword "Depression"
In this collection, twenty-two authors take up the subject of wanting a baby and what happens to one's self-image and marriage/relationship when difficulties arise. All the contributors are accomplished writers--e.g. Amy Hempel, Michael Bérubé, Tama Janowitz--who tell stories of the miracles, disapppointments and sometimes horrors of the various reproductive technologies; the experience of childlessness when one/a couple desperately wants one; the joys of "success" via technology or adoption; what happens when every method fails.
The editor, herself a writer and one who has suffered depressive episodes, collects a series of personal essays or illness narratives about experiences with depression. Her contributors are all artists, primarily writers, who generally but not exclusively speak to the relationship between their art and their mood disorders. Some of the essays included have been previously published, but most are original contributions to this collection. The collection is introduced by Kay Redfield Jamison whose academic work has examined the relationship between creativity and depression, including manic-depressive disease.
Crossing Over presents "extended, richly detailed, multiperspectival case narratives" of 20 dying patients served by the Hospice of Lancaster County in Pennsylvania and the Palliative Care Service of Royal Victoria Hospital in Montreal. These complex narratives (each written by a single author) reveal the patient’s story from many points of view, including those of family members and professional caregivers.
The authors explain how this project differs from recent books of clinical narratives by Timothy Quill (A Midwife Through the Dying Process, 1996), Ira Byock (Dying Well: The Prospect of Growth at the End of Life, 1997), and Michael Kearney (Mortally Wounded. Stories of Soul Pain, Death and Healing, 1996 [see entry in this database]). Barnard et al. point out that Quill, Byock, and Kearney are "passionate advocates for their own styles of care . . . Yet these very characteristics--advocacy and close personal involvement--limit their books in important respects." (p. 5) Basically, these authors select cases that illustrate the efficacy of their models and present the patients’ stories from their own point of view.
Crossing Over draws on a standard qualitative methodology that includes tape-recorded interviews of patients, families, and health care professionals; chart reviews; and participant observation. After the introduction, the narratives occupy 374 pages of text (almost 19 pages per patient). Part II of the book, entitled "Working with the Narratives," includes a short chapter on research methods and 29 pages of "Authors’ Comments and Questions for Discussion." The latter is designed to be used as a teaching guide.
This is the first "selected poems" by Claes Andersson to appear in English. Drawn from his 18 collections published in Finland, they are generally short (less than one page) poems without titles. As the Introduction notes, Andersson's early poetry features blunt language, while his later work strives for more musicality. Drawing on his psychiatric experience, Anderson uses "private life as a foundation for an investigation of all that shapes our identity."
Friendship is a frequent theme in these poems, as in "Philemon and Baukis": "If you become a fir / I'll be a birch/ Thus you protect and warm me / through the cold seasons / In return I'll dance for you / in the summer nights . . . " (p. 75) One of the most striking poems in the collection is "the new theology," which begins: "Disease is the conscience of the body / What would we be without our ailments . . . " (p. 112)
This book is composed of a series of essays written by Dr. Percy over a period of twenty years from 1954 to 1975. All have been published in journals except the last one, "A Theory of Language." The first one was written before his first novel, The Moviegoer, was published. These all reflect his recurring interest in the nature of human communication.
The first essay, "The Delta Factor," is perhaps the easiest to understand. It has a long subtitle: "How I Discovered the Delta Factor Sitting at my Desk One Summer Day in Louisiana in the 1950's Thinking About an Event in the Life of Helen Keller on Another Summer Day in Alabama in 1887." Percy asks why man feels so sad in the twentieth century; he goes on to state that this book is about two things: man's strange behavior, and man's strange gift of language and how understanding the latter might help understanding of the former.
Percy's view is that man's singular asset, which differentiates him from animals, is language. His interest in language and how children acquire language is almost certainly related to the fact that one of his daughters is deaf, hence also his interest in Helen Keller. Subsequent essays are further approaches to these questions, including the importance of symbolization as an essential act of the mind and a basic human need.
The essay, "The Message in the Bottle" is built around the supposition that a man who is a castaway on an island and has no memory of his past life finds on the shore a series of bottles which contain messages. The man, who has become a useful member of the island community, must decide which messages appear to state empirical facts and which seem to refer to the nature of reality. Dr. Percy sees that the messages can be in some ways like the news of the Christian faith. This fits with his own personal way of dealing with a feeling of alienation by turning to religion. He sees belief in one of the theistic historical religions as a way to redeem man from the catastrophe which has overtaken him. He describes not only himself but also man as a castaway who can recognize his need and have hope that some message might relieve his predicament.
Adam and Seth Bede work as carpenters in the little village of Hayslope. Seth proposes to Dinah Morris, a gifted Methodist preacher, but she wants to devote herself to God's work. However, neither Dinah's faith nor her aunt Mrs. Poyser's sharp country truths can deflate the vain fancies of her pretty Hetty Sorrel (Mrs. Poyser's other niece). Although good Adam woos Hetty, she is distracted by the idle attentions of Captain Arthur Donnithorne, and when Adam finds out, he fights Arthur, who leaves town.
But when Hetty realizes she is pregnant, she runs away to see Arthur, only to find, arriving destitute after a difficult journey, that his regiment has been called away. Hetty restrains herself from suicide and gives birth in a lodging-house, then runs off with the infant and buries it in the brush, where it dies. After she is convicted for child-murder, Arthur finally hears the news, and Hetty's commuted sentence (transportation) saves her from the gallows. Two years later, Adam and Dinah realize they love each other, and they marry.
The novel opens with a man known only as Pilgrim hanging himself in London in 1912. Despite being pronounced dead by two physicians, he somehow lives. Pilgrim has attempted suicide many times before but is seemingly unable to die. He claims to have endured life for thousands of years but has tired of living and only longs for death. He has crossed paths with many historical figures including Leonardo da Vinci, Saint Teresa, Oscar Wilde, and Auguste Rodin.
After his most recent suicide attempt, he is admitted to a psychiatric facility in Zurich as a patient of the famous Swiss psychiatrist, Carl Jung. Pilgrim eventually escapes from the institution and masterminds the successful theft of the Mona Lisa from the Louvre. Next, he sets the cathedral at Chartres on fire. The novel ends with Pilgrim driving a car into a river on the eve of World War I. His body is never found.
The Exact Location of the Soul is a collection of 26 essays along with an introduction titled "The Making of a Doctor/Writer." Most of these essays are reprinted from Selzer's earlier books (especially Mortal Lessons and Letters to a Young Doctor). Six pieces are new and include a commentary on the problem of AIDS in Haiti ("A Mask on the Face of Death"), musings on organ donation ("Brain Death: A Hesitation"), a conversation between a mother and son ("Of Nazareth and New Haven"), and the suicide of a college student ("Phantom Vision").
This study of the anatomy of alcoholism, its spectrum and individual manifestations, is set in a skid row bar/hotel in 1912. The bar is peopled by a collection of society's failures: drifters, pimps, police informers, former anarchists, failed con-artists, ex-soldiers, and prostitutes. The patrons, in various stages of inebriation, await the annual arrival of the big-spending, happy-go-lucky salesman binge drinker, Hickey, whom the pipe-dreaming losers anticipate will treat them to hours of merriment and free-flowing liquor on the occasion of his birthday.
Hickey does, in fact, arrive, a bit late and very sober. He claims to have seen the light and to desire to help his old drinking buddies dump their pipe-dreams and return to productive lives. The reaction of the folks, the results of their attempts to buy into Hickey's sales-pitch, and an unanticipated homicide and surprise suicide, round out the drama.
In the second volume of her trilogy of memoirs (which begins with American Girl and ends with Speaking with Strangers), Mary Cantwell, a former fashion magazine editor and writer, describes her marriage, the birth of her two daughters, her career advancements, and her divorce, with Manhattan in the 1950s as the backdrop.