Showing 351 - 360 of 390 annotations tagged with the keyword "Narrative as Method"
Trudi Montag is a Zwerg, a dwarf. Born to a mentally disturbed woman who dies when Trudi is a small child, the girl reaches adulthood under the loving care of her father, a pay-librarian in a small German town. (A pay-librarian is one who runs a library as a business and charges the patrons to borrow books.) Trudi is angry, deeply resentful of her "differentness," and she uses her unique status in a variety of ways, both helpful and vengeful toward others.
For example, Trudi tells stories, some of which enchant and comfort frightened children during the war, others of which harm the lives and personal security of the townsfolk whom the story teller doesn't like. World War II comes and goes in Burgdorf; Trudi finds and loses romantic love; her father dies; and she begins, at the end of the tale, to reflect on the ways in which she has contributed to her own suffering and that of others.
In 1984 Handler was a moderately successful 23 year old New York City actor, when he developed acute myelogenous leukemia. Strongly supported by his girlfriend and family, Handler underwent induction and, later, consolidation chemotherapy at Sloan-Kettering Memorial Hospital, where he also began his long experience (the "comedy of terrors" or, perhaps more appropriately, the "tragedy of errors") of a harsh, hostile medical environment populated by arrogant physicians, condescending nurses, and a host of unhelpful minor characters.
Handler carries us briskly through his first remission, the impact of his illness on his family and personal relationships, his experience with nonconventional healing (Simonton Cancer Center), his return to work on Broadway, his relapse, and the agony of a second round of induction chemotherapy at Sloan-Kettering.
Subsequently, he goes to Johns Hopkins Hospital to undergo the rigors of an autologous bone marrow transplant. At Hopkins he discovers to his surprise a medical setting far different from Sloan-Kettering: communicative, compassionate physicians and a patient-centered healing environment. Even the two hospitals' sperm banks reflect this radical difference in approach.
After surviving his transplant and a subsequent round of serious infections, Handler resumes his life. He realizes that most of the time nowadays he is not in touch with the sense of joy and gratitude for each moment that the illness taught him. Yet, these feelings exist below his consciousness; sometimes he steps through "a little doorway near the floor of my consciousness" and experiences his life in a simpler, more profound way.
As the book opens, Fauchery, a drama critic, is waiting for the hottest play in Paris to open. "The Blonde Venus" has bad music and bad actresses, but a new star, Nana, who appears on stage clad only in a diaphanous wrap brings down the house anyway. Nana is an experienced concubine. She exploits the hysteria caused by her nearly nude performance to win Steiner, a wealthy banker. Steiner buys her a country house where she entertains other lovers to win more gifts. Here she also has a brief affair with the penniless student George.
Steiner soon sets her loose and she takes up with Fontan, an actor. She tries to be domestic and kind, but Fontan beats her, then abandons her and she turns to streetwalking. Threatened by the police, who in order to prevent the spread of syphilis can imprison women and perform mandatory gynecological exams, she quickly searches for a new, wealthy lover. She finds Muffat whom she humiliates, trampling on his uniform and sleeping with whomever she likes. One day, Muffat finds her in the arms of young George and then with his elderly father-in-law. Nana also brings home Stain, a streetwalker, to be her lover and confidant.
Young George finally grows so jealous of Muffat and of his brother, another of Nana's conquests, he kills himself in her bedroom. Her other lovers must step over the bloodstain to approach Nana's bed. Soon after, Nana catches smallpox and dies miserably, the disease ravaging her beauty. She dies in 1870 just as the Franco-Prussian War begins.
This is a collection of stories and sketches by a practicing neurologist. Most of the material is clinical and autobiographical. In "Mrs. Bachman" a new patient enters the doctor's office, carrying a thick stack of medical records. It all started in 1946 and no doctor has ever found the explanation of her condition. Meanwhile, the doctor is wearing contact lenses for the first time. His eyes begin to tear. Mrs. Bachman thinks that he is crying over her misfortune. She consoles him, "I want you to know that you are the kindest, most sympathetic man I have ever met."
In "Intensive Care" an elderly woman is agitated after a seizure. The staff try unsuccessfully to calm her. Finally, her husband approaches and kisses her. She settles peacefully and they hold hands.
The doctor in "Continuing Medical Education" finally discovers metastatic breast cancer as the cause of a psychotherapist's neck pain, long after he and other physicians had told her again and again that the "driving mechanism" of her chronic pain was "unresolved anger and frustration." In a longer essay, "The Narrow Bridge," the author reflects on the meaning of healing, "Healing helps us find a place in this world for ourselves and for each other."
This book, which is subtitled "Seven Paradoxical Tales," contains seven of Oliver Sacks' clinical stories of persons whose unusual neurological deficits teach us something about the way the brain (and, therefore, the mind) works. In "The Case of the Colorblind Painter" an artist learns to adapt to a completely black-and-white world after sustaining trauma to his occipital lobe.
"The Last Hippie" portrays a man whose ability to form new memories was destroyed by a massive midline brain tumor; he still "lives" in the 1960's. "A Surgeon's Life" depicts a Canadian surgeon with Gilles de la Tourette Syndrome, showing how he is able to live as a respected member of the community and practice surgery despite this disabling condition. "To See and Not See" tells the tale of a man in his 50's who is suddenly able to see after being blind since early childhood.
In "The Landscape of His Dreams" Sacks introduces a painter who, after a serious illness in the 1960's, apparently developed extraordinary and persistent "waking visions" of Pontito, his hometown in Italy. For many years he has obsessively painted remarkably accurate scenes of Pontito. "Prodogies" and "An Anthropologist on Mars" both deal with autism. The first tells of an autistic boy from England who has remarkable skill in visual memory and drawing; the second is about an autistic woman with a Ph.D. in animal science, who teaches at Colorado State University.
Summary:At the beginning of the Spanish Civil War, while her father fights for the Republicans against Franco's forces which her deceased mother's family supports, fourteen-year-old Matia is forced to leave her elderly nanny and go to live with her maternal grandmother, aunt, and her fifteen-year-old male cousin, Borja. This is the summer the frightened, rebellious, and homesick Matia struggles with her changing body, and the changing relationships and behaviors she must have as a woman in her society. This is the summer Matia learns of social class, politics, sex, and family secrets; of love, honor, and betrayal.
Summary:At some indeterminate point in time and space following World War II, George remembers telling Corinne the story he has told Blum. The discontinuous, contiguous rememberings and tellings--rememberings of tellings, tellings of rememberings--are the labyrinthine elements of George's searches for meanings: to his own life, to his ancestral identity, to the disastrous routing of French troops by German in May 1940, to the human condition. In the course of their textual wanderings, narrator and reader return again and again to specific scenes--trying to make sense of life and death, and the cardinal, corporal points between.
This is a short bittersweet story of a father's (eventually) successful efforts to teach his seven year old son about the "evils" of smoking. The father, a prosperous and recently widowed prosecutor, begins his "lesson" by first trying to explain the nature of property (his son had taken his tobacco); in the voice of "the nursery" he tries to compel his son not to smoke again.
Then, trying to recapture the teachable moment after this first attempt fails, the father reminds himself that the modern teacher must stand on logic in order to help the child form the necessary principles. Learning should be based neither on fear nor on desire for rewards he tells himself--but he fails again.
Finally the father realizes that he must enter his son's world in order for his son to understand him. This he does through an improvised story wherein a young prince "abandons" his aging father through an early death due to smoking. The connection is made and the young son swears to not smoke again. The father then reflects on the power of story in the lives not only of children, but of us all.
Laurence "Tubby" Passmore is a successful scriptwriter for a television sitcom, in his mid-fifties, married and the father of two grown children. He is indecisive and inexplicably depressed, unhappy with himself, his fat body, bald head, wonky knee, and impending impotence. At least, he is confident in his marriage to Sally, an attractive, self-made academic who enjoys sex; on weekly jaunts to London, he maintains a supportive but platonic relationship with the earthy Amy.
Seeking to alleviate his woes, he dabbles in acupuncture and aromatherapy and regularly attends a blind physiotherapist and a woman psychiatrist; the latter counsels him to write a journal. His wife suddenly announces her wish for a divorce and the television network invokes a contractual obligation to make unwelcome demands on his skills. These events shatter his unappreciated but complacent "angst" and deepen his identity crisis.
Laurence scrambles to rediscover himself. He reads the gloomy, Kierkegaard--because he identified with the titles--and he travels to the existentialist's Copenhagen. He pushes the boundaries of his relationship with Amy in a maudlin trip to Tenerife. He befriends a philosophic squatter, called "Grahame" (with an "e" no doubt to distinguish him from Graham Green whose "writing is a form of therapy" is an epigraph to this book). He flies wildly off to Los Angeles hoping to rekindle a one-night stand "manqué." Finally he recalls and tracks the Irish Catholic, Maureen, his first girlfriend from forty years before. Maureen has suffered too--the death of her son and breast cancer; he finds her on the Road to Compostella.
In a South American town during the early years of this century, a retired doctor long known as an eccentric flatly refuses treatment to victims of a riot. Years later, the doctor hangs himself. For the vengeful town, the issue becomes whether he will receive a proper burial or be allowed to rot in the house where he had lately secluded himself.
This issue becomes the focal point of recollections, from many points of view, of fragments of the doctor's bizarre history. An old military man, who was originally the doctor's sponsor and host, braves the town's anger and forces his family members to help him carry out the burial. As it turns out, no one remembers the outrage apart from a few town officials, and the burial takes place without incident.