Showing 341 - 350 of 378 annotations tagged with the keyword "Mental Illness"
The narrator in this three stanza poem observes men in a mental hospital who suffer from what at the time (World War I) was called shell shock and now might be labeled post-traumatic stress disorder. In any case, they are insane; they relive the "batter of guns and shatter of flying muscles."
For these tortured souls, "sunlight seems a bloodsmear" and "dawn breaks open like a wound that bleeds afresh." They cannot escape their hideous memories of the warfare. The narrator sees them as living in hell, and he accepts for all society the blame for what has happened to them--we, he says, have "dealt them war and madness."
Prince Myshkin is an epileptic returning from a sanitarium. On the train, he meets Rogozhin and they become friends. Myshkin visits his distant relatives, the Epanchins, a fashionable family. General Epanchin gives him a job and he fascinates Madame Epanchin and her daughter, Aglaya, with his innocence and awkwardness.
The Prince boards with Ganya, a schemer who wants to marry Aglaya for her money. Ganya is also involved with Natasya; though innocent, she is a kept woman. Myshkin pities Natasya; in their innocence they are two of a kind. He offers to marry her, but as she is worried about ruining his name, she runs off with Rogozhin. Shortly afterward, she runs away from Rogozhin and disappears. Rogozhin assumes she has run to Myshkin and with Ganya plots the Prince's death.
Meanwhile, Aglaya has fallen in love with Myshkin, but his bizarre talk disturbs the family and when he falls into a fit at a party they ban him from the house. Aglaya also grows increasingly jealous of Natasya. The two women meet and Aglaya resolves to give up the Prince. At last, Natasya agrees to marry Myshkin but on their wedding day, she elopes with Rogozhin, who murders her. Myshkin returns to the sanitarium.
Lol Stein is 19 years old and engaged to be married. At the town ball, her fiance leaves her and runs away with a beautiful stranger. Lol withdraws into herself, but seems not to feel much pain. In fact, she subsequently lives her life in a dull, almost-numb state, never really interacting with people nor experiencing feelings (pain or joy). She falls into a loveless marriage and has children.
After ten years she encounters a school friend, Tatiana Karl, who had been with her at the town ball. Tatiana also has a loveless marriage, but has taken a lover, the young doctor Jacques Hold. There is a strong attraction between Lol and Jacques and they have an affair, but she remains peculiarly abstracted and estranged from life.
Consuelo Camacho Ramos (Connie) was placed in Bellevue Hospital because she abused drugs and alcohol after the police killed her blind, African-American lover. She was accused of child abuse and her daughter was put up for adoption. When the novel opens, Connie has been released and is living in New York with little money and no hope of a job.
She begins to be visited by an individual from the year 2137 who calls "himself" Luciente. He communicates with Connie mentally and she visits his world in the same way, experiencing everything without moving her body. Luciente’s community is not divided along gender lines. Indeed, "he" turns out to be what Connie calls "female," though the name means nothing in this future world.
Reproduction takes place in an artificial environment in which fetuses are delivered at ten months to improve their strength. Every child has three "mothers," but is raised by the entire community. Luciente’s community is fighting a war against forces that want people to live in a hierarchical system in which women all become prostitutes, victims of a larger, manipulating force, a battle Connie also fights in her world.
When Connie breaks the nose of her niece’s pimp, he takes her back to Bellevue. No one believes that she did not provoke the attack. They assume she is mad. In an exemplary moment, the nurses who attend to Connie talk over her head about how dirty these mad people are. Left tied to a bed for many hours, Connie has urinated on herself and has been unable to wipe her nose. The nurses ignore every word she says.
Connie learns to manipulate the system, not swallowing her pills and telling her counselor that indeed she was sick but now feels much better. She draws the line, however, when she is chosen to be a subject in an experiment. The doctors plan to implant electrodes into the patients’ brains to control the patients’ emotions. Connie kills the doctors by slipping poison into their coffee.
A 17 year-old boy, Alan, is brought to a psychiatric hospital because he has blinded several horses with a hoof pick. A psychiatrist, Dysart, works to "normalize" the boy, all the while feeling that though he makes the boy 'safe' for society, he is taking away from him his worship and sexual vitality--both of which are missing in the doctor's own personal life. He actually envies Alan the sexual worship he has experienced.
In spite of his own hang-ups, though, the doctor does help the boy work through his obsession, which identifies the horse Equus with God. But the doctor comments that "when Equus leaves--if he leaves at all--it will be with your intestines in his teeth. . . . I'll give him [Alan] the good Normal world . . . and give him Normal places for his ecstasy. . . Passion, you see, can be destroyed by a doctor. It cannot be created."
Allison Shandling is a bright 14-year-old with an autistic twin brother, Adam. She has spent her life being the "good" child, accommodating to her brother's idiosyncratic behavior, learning to weather public curiosity, support her parents, and not cause them further anxiety.
When her parents decide to reconnect with a religious community, she finds that one of the school bullies is the rabbi's son, Harry. He teases her mercilessly about her brother, especially after his father, the rabbi, takes Adam under his wing and tutors him for his bar mitzvah. When Harry is paralyzed from the waist down in a sporting accident he retreats even further into bitterness, but Allison finds herself drawn to him nevertheless.
Against her own "better judgment," she pursues a friendship with Harry, learns that the source of much of his anger lies in the death of his mother and his father's distance, and that the two of them share a sense of being marginalized in families where other critical needs have overshadowed their own very ordinary needs. Eventually friendship blossoms into a first romance as well as inciting both to initiate new conversations with their parents.
This is the third volume of poetry by Ron Charach, who is a psychiatrist in Toronto, Canada. Charach's poems evoke a wide array of experiences and topics, ranging from surreal dream poems to images of family vacations, from an adolescent biker ("White Laces") to medical imaging techniques ("MRI" and "The Use of Contrast to Study the Spine"). Charach's tone is generally light, frequently insightful, and often surprising.
While "healing" poems are scattered throughout the book, one section ("The Calling") focuses on images of Charach's medical specialty, psychiatry. In "Psychiatrists on the Subway" the poet imagines an off-duty psychiatrist who "sets his ears / on the night table / and prays for a night of long silence / from a God who prefers / to listen." In "Newton" he invites the reader to glimpse the professional life--but with a grain of salt--as he muses about a colleague who "gave so much Electro-Convulsive therapy / he wore wooden cufflinks and rubber-soled Wallabies."
"The Naked Physician" presents an image of a kind and gentle doctor whose failure to be a good husband and father "will be recorded in the final light." Other outstanding poems in this collection include "She Will No Longer Take Her Food," "Equipoise," "Someone Else's Fire," "Labour and Delivery," and "Past Wildflowers."
A young farmer and father of three, Cory Johnson has cobbled together his own corn sheller with old parts and a new electric motor. His four-year-old son Bobby catches a hand in the gears, and Cory can only free him by amputating the hand with a hatchet. Over the next two decades, this accident haunts Cory as a violation of the one condition that had given meaning to his life--his fatherhood.
Although Bobby grows to normal adulthood and manages perfectly well with prosthetics, the fact that neither he nor others will blame Cory only compounds the father's depression. Cory slips inevitably toward madness and, in a gothic conclusion, re-enacts his crime in a way that will ensure punishment the second time.
This history of western medicine focuses on British life in the eighteenth century. Williams begins his treatise by wondering if "we realize sufficiently what we have escaped by being alive in the twentieth, not the eighteenth, century." He then catalogues in the subsequent 12 chapters the agonies not only of illness but also of medical treatment in the 1700’s.
Topics are wide-ranging and include blood-letting, parturition, infant malnutrition, rampant infectious diseases, maltreatment of the insane, surgery prior to anesthesia, water therapy, and military medicine. Primary source quotations interspersed in the narrative add to the drama. For example, the deposition of a widower (his wife died while pregnant) is quoted: " . . . Being taken ill of a paine in her right side under her short ribb together with a great difficulty of breathing having but 14 weeks to go with Child Mr Hugh Chamberlen Senr was sent for to take care of her, who thereupon gave her in the space of nine days four vomitts, four purges, and caused her to be bled three times to the quantity of eight ounces each time: Then gave her something to raise a spitting after which swellings and Ulcers in her mouth followed . . . . " (p. 31)
A few medical advances at the close of the century are also described, notably the smallpox vaccine developed by Jenner and the administration of First Aid to wounded soldiers at the frontlines (developed by Larrey). The text is accompanied by black and white illustrations, such as an inside view of Bedlam (Bethlehem Hospital) by William Hogarth (A Rake’s Progress, plate VIII).
This is a collection of twenty-six first-hand accounts by women institutionalized in mental hospitals or "asylums" in America between the mid-nineteenth century and the end of World War II. The book is divided into four historical periods, each introduced by the editors with an essay contextualizing the narratives in relation to the history of the psychiatric establishment, and to the roles, perceptions, and experiences of women in American culture.
The accounts are all extracts from works published by the writers, usually as attempts to expose the injustices of the mental health system. Most of the writers are not well known, with the exceptions of the author Charlotte Perkins Gilman and the actress Frances Farmer, whose account concludes the book [see film annotation in this data base: Frances].