Showing 351 - 360 of 448 annotations tagged with the keyword "Depression"
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.
Sleep is a much sought-after prize in this novel. Bonnie Saks is a 39 year old woman whose life has spiraled out of control. Already divorced and the mother of two young boys, she is tormented by insomnia. Her life is further complicated when she discovers she is pregnant and struggles to complete her unfinished dissertation on American literature.
Ian Ogelvie is a 29 year old psychiatrist and sleep researcher experimenting with a breakthrough drug known as Dodabulax that greatly enhances REM sleep. While Ian helps Bonnie sleep, she in turn provides him with a wake up call of sorts. Ultimately, Bonnie becomes uneasy with the changes triggered by her blue pills. Despite suffering a miscarriage, her life becomes more tolerable and her insight much clearer.
This first-person narrative of a runaway girl's short stay in a residential mental health center develops her impressions, resistances, and accommodations from her admission ("I can see right away it's a nuthouse") to her release. These include reluctant interviews with the staff counselor, uncomfortable encounters with nurses, observations of other patients' erratic behavior, and efforts, finally, to communicate with a very detached roommate.
"Stevie" speaks from a place of anger and mistrust. She attempted suicide in the girl's bathroom by slicing her wrists, but regards herself as otherwise quite competent. A turning point comes for her when her silent roommate sings a song she's written which ends with the words, "Don't forget to cry." This moment of vulnerability, which also unveils surprising talent and beauty, moves Stevie from anger toward curiosity and sympathy.
She takes steps toward friendship with her roommate, and finally toward reconciliation with her mother who, she realizes, really wants her home. As she leaves, Zena really addresses her for the first time, reminding her, "Don't forget to cry."
Warren here supposedly presents the papers of a late friend, detailing the interesting cases he had encountered as a physician. In fact, the "cases" are sensational short stories, presented as a novel due to the framing chapter introducing the narrator's "Early Struggles" to make a living as a physician. Other stories investigate typically Gothic themes like ghosts, duels, graverobbing, elopements, and broken hearts, with other scandalous problems like gambling, dissipation, murder, domestic abuse, and suicide. Medical topics include mental illness, epilepsy, hysterical paralysis ("catalepsy"), cancer, toothache, consumption, syphilis, heart disease, alcoholism, disease of the spine, gout, amaurosis (blindness), puerperal hemorrhage, measles, and stroke ("apoplexy").
The aging and isolated Austin Fraser paints vividly realistic images inspired by his past; he then covers them with a filmy top coat that obfuscates the clarity. His housekeeper thinks he spoils his work with this "style."
Son of a privileged mining magnate, he spent his summers on the northern shores of the Great Lakes, and his winters in upstate New York. His model, Sara, opened her life to him, and waited. He took without giving in return. His good friend George, destined to inherit his father's China Hall, is satisfied, it seems, with a meager life in porcelain painting and selling--trite, cozy images that Austin scorns. They both remember Vivian, a beautiful sophisticate who floated through their lives one summer long ago. Austin has been away in the big city for many years, but he has a hankering to see George again. Vivian reappears and goads Austin to make the journey back in time.
Wounded in the war, George has found a partner in Augusta--a fragile nurse, haunted by her horrifying war experience and addicted to morphine. But when George is confronted with Vivian again, the peaceful stability vanishes. To his amazement, Austin discovers that George had actually married Vivian that summer, but she left him at the urging of his mother. Her return opens painful wounds. After a night of recollection with Austin, Augusta slips away. Austin waits downstairs while she overdoses on morphia. George finds her dead and takes his own life too. Austin has the bodies removed.
Keats urges his reader not to respond to melancholy by committing suicide. He says to avoid poisons like Wolf's-bane, nightshade, and yew berries. Instead, when most depressed, "glut thy sorrow" on the beauty of a rose or the rainbow of salt and sea. Likewise, if your mistress is angry with you, look into her eyes and feast on their ephemeral beauty.
Contrast is the key to pleasure. Melancholy is not the moment for death, but an opportunity for a fine experience. It is the fine balance between pain and pleasure that is ideal. The final stanza rephrases this idea. Beauty is always ephemeral; joy is always about to leave, but these are man's highest moments.
Summary:The author feels "a funeral in my brain"--mourners treading, drums beating. They "lift a Box" and tread across her soul with "Boots of Lead" until "a Plank in Reason" breaks.
The King begins to make bad judgments: he "retires" from the worries of kingship, but expects to retain the privileges; he divides the kingdom, something every king knows better than to do; he banishes his only honest daughter and his most loyal advisor. Lest the reader not get the significance of these actions, they are mirrored in the actions of one of his royal party, Gloucester.
Nature announces impending trouble and the aging king reveals the magnitude of his dementia in a scene of violent delirium. The complex conspiracies among the sons and daughters of the king and Gloucester eventually lead to the violent deaths of most of the principles, clearing the way for an establishment of a new stewardship for the kingdom.
Hamlet's father, the King of Denmark, is dead and has been succeeded by his brother Claudius, who has married the old king's wife, Gertrude. The King's ghost tells Hamlet that Claudius murdered him, and makes Hamlet promise to avenge his death. The play traces the process by which Hamlet negotiates the conflict between his need to take violent action and his uncertainty about the rightness of doing so.
He pretends to be mad and contemplates suicide. He unintentionally murders Polonius, the new King's counselor, and violently confronts his mother for what he sees as an unfaithful and incestuous marriage to her brother-in-law. He also verbally abuses Ophelia, the daughter of Polonius, whom Hamlet had loved before, contributing to her mental illness and eventual death.
Hamlet finally decides that he must submit to his fate--or his dramatically determined role as the hero of a revenge tragedy--and agrees to a fencing match with Ophelia's brother, Laertes. Arranged by Claudius, the match is rigged. Laertes's rapier is poisoned, and both Laertes and Hamlet are killed with it. Gertrude drinks the poisoned wine intended for Hamlet and dies. Hamlet's last action is to kill Claudius, but whether this counts as the successful culmination of a revenge plot is dubious. As a new order takes over in Denmark, and as the dying Hamlet asks that his story be remembered, we realize that his existential quandaries remain largely unresolved.