Showing 391 - 400 of 582 annotations tagged with the keyword "Individuality"
As James Morris, the author was the dashing journalist who covered the first successful ascent of Everest in 1953 for The Times of London; a member of the elite and quintessentially male 9th Queen's Royal Lancers ("famous for their glitter and clublike exclusivity"--p. 27); the husband who married Elizabeth, fathering several sons. But, as the writer says in the first sentence of the book, "I was three or perhaps four years old when I realized that I had been born into the wrong body, and should really be a girl. I remember the moment well [James was sitting beneath his mother's piano], and it is the earliest memory of my life."
Realizing he was a member of a tangled (a favorite word of the author) group of transsexuals, James felt himself trapped in a conundrum of gender (he felt and considered himself female) versus sex (he was genotypically and phenotypically male). "To me gender is not physical at all, but is altogether insubstantial; it is soul, perhaps, it is talent it is the essentialness of oneself" (25). (Morris goes on to quote C. S. Lewis's Perelandra.)
After some fruitless interactions with the medical profession, Morris travels to Casablanca in the summer of 1972 to undergo sex-changing surgery and becomes Jan Morris. Unlike many if not most transsexuals, post-operatively Morris fared quite well emotionally and has, to date, been quite happy with the change (see below). Jan Morris's writing is as humorous and eloquent as James Morris's was. She describes (magazines like Rolling Stone and publishers like Random House and thousands of readers have never cared what gender or sex was holding the pen) how life changed in clubs, restaurants, and in taxi-cabs, where Jan met the first man to kiss her, post-surgery, "in a carnal way" (151). (Morris records that "all I did was blush.")
Megan is deaf, but has managed to make a comfortable niche for herself in her neighborhood as well as being a force to be reckoned with in a family where she wants no pity and insists on as much independence as possible. The summer Cindy moves in down the street is full of changes for her. Their friendship teaches both girls new skills in giving and receiving help, understanding, and loyalty.
Cindy needs to learn when and how to offer help. She also learns sign language. Megan needs to learn how to receive the concessions and help others offer without defensiveness. When the girls go to camp together they are taken under the wing of a counselor with a deaf sister who knows how to sign and who integrates them into camp life gracefully and protectively. Their friendship is challenged when Megan meets Lizzy who is also deaf, and who therefore shares common ground with Megan in ways Cindy can't.
The three girls form a bond, but not without rivalry and misunderstanding. After a period of estrangement during which both Megan and Cindy have to reevaluate their strategies of giving and receiving help and leadership, they reaffirm a friendship that involves a new maturity in understanding the demands of real inclusiveness.
Rafael Belvedere (Ricardo Darin) is a 42 year-old, divorced, father who runs the restaurant that his parents established nearly fifty years ago. His father, Nino (Héctor Alterio), is mostly retired and makes daily visits to the hospital where his wife, Norma (Norma Aleandro), has been placed for her Alzheimer's disease. Avoiding the horror, Rafael has not seen her in a year.
Guilt for having dropped out of law school drives him to prove himself by making the business a success; he defiantly resists offers to sell. But his finances are a mess, his temper thin, and his relationships strained; he works too hard, sleeps too little, and drinks and smokes too much. Inevitably, Rafael has a massive heart attack and spends 15 days in ICU (Intensive Care Unit).
This intimation of mortality convinces him to change his life, sell his restaurant, and open his heart to the needs and worth of the people around him. He agrees to help his atheist father fulfill a romantic wish to finally marry the still beautiful but grievously departed Norma in a church, something she had long desired and he had always refused for his "principles." The priest declines the request because of Norma's disease, but an engaging solution is found.
The now famed American poetess, Sylvia Plath (Gwyneth Paltrow) is a Fulbright scholar at Cambridge, England in 1956. Angered over a stinging review of her work by the literary roué Ted Hughes (Dennis Craig), she is then charmed by his poetry and blatantly sets out to seduce him. They marry soon after.
Sylvia had tried to commit suicide several times in her youth. Recalling one terrifying near miss, her cold-seeming mother resents Hughes, sensing the power in passionate love to harm her fragile, brilliant daughter. The initially torrid life that Ted and Sylvia share in both America and in rural Britain, grows tired through the strain of two children, her lack of joy in teaching, and his greater poetic success, all of which seem to stifle her creativity.
It ends because of his chronic infidelities, reduced in this version to a committed affair with a mutual friend, the thrice-married, Assia Wevill (Amira Casar), who becomes pregnant. Rage, jealousy, and depression become Sylvia’s muse. The more she suffers with Hughes, the more productive and poignant is her work. Unable to lure him back, she leaves buttered bread and milk for her children, seals the kitchen, and gasses herself to death.
Deserted by her husband, who teaches in a bucolic, private school for the visually impaired, Candida is a 50-ish, unemployed woman, estranged from her three daughters, at least two of whom blame her for the failure of her marriage. To the astonishment of everyone in her sphere, she embarks on a completely new, though modest life in a tiny, walkup flat in one of London's immigrant communities. Her consciously passive efforts to find new friends and discard old ones leads her to keep a diary, to take a night course on Virgil, and improbably--when the night school closes--to join the Health club that replaces it.
Eventually, she assembles six new friends--the seven sisters--for an Aeneas-like journey from Carthage to Rome, with plans to consult the Cumean Sybil en route. Illness draws her closer to her middle daughter, Ellen, whose own perspectives on her parents' marriage contrast with those of her mother. Illness also forces an abrupt end to the travels. Candida wrestles with the issues of survival, suicide, and the meaning of life for an aging woman in an aging body whose entire purpose had once been helpmeet and mother. Can any other purpose be found?
The narrator has four loves--one for each chamber of her heart: right atrium, right ventricle, left atrium, left ventricle: music (from her mother), painting (from her husband), language (shared with her son), and light. Each section, introduced by an anatomical engraving of the heart, describes how the love entered and developed in her life. Their relative importance is related to the size and thickness of the cardiac chambers. Carefully placed engravings of domestic scenes and landscapes, mostly nineteenth century, complete the essay.
For three weeks the narrator has been working as a clerk in the emergency department. His good friend, Georgie, is a hospital orderly. Both men abuse drugs, and Georgie steals them from the hospital. The ER staff includes Nurse (an overweight woman who shakes) and the Family Service doctor (a physician with limited competence who is not well-liked).
At 3:30 A.M., a man named Terrence Weber arrives at the ER. He has a hunting knife stuck deep in his eye. Ironically, his other eye is artificial. Weber's wife apparently tried to blind him because he ogled the woman next door. The doctor immediately decides the situation is beyond his expertise and calls for an ophthalmologist, neurosurgeon, and anesthesiologist.
Meanwhile Georgie is prepping Weber for surgery. The drugged-up orderly, who cannot even tie his shoe at this point, somehow removes the knife by himself. Weber's vision is fine. Later on, the narrator and Georgie get lost while driving around in a pick-up truck without headlights. The truck runs over a jackrabbit on the road. Intent on making rabbit stew, Georgie cuts the animal open with the hunting knife he had earlier removed from Weber's eye. The rabbit is pregnant with eight miniature bunnies inside her.
Georgie decides to save the babies. Unfortunately the narrator forgets about the rabbits and accidentally squashes them to death. At the end of the story the two men encounter a hitchhiker who has gone AWOL from military service. Georgie promises to take him to Canada.
Manlius is a 5th C Roman patrician living in Provence who has studied with the wise, reclusive Sophia. He writes his understanding of her teaching in his essay, 'Dream of Scipio,' which trades on an essay by the great Roman orator, Cicero. Sensing that the Empire is gravely threatened, he makes a pact with barbarians, sells out his neighbors, slays his adopted son, and becomes a bishop of the Christian religion, which he has long despised. Late in this ruthless and doomed attempt to salvage what he values most in his world, Sophia makes it clear that he has misunderstood her teaching.
Olivier is an astonishingly gifted 14th century Provencal poet whose intolerant father tries to stifle his love of letters, among which is Manlius's 'Dream'; his father destroys the manuscript, but Olivier recopies it from memory. As plague advances on their region, Olivier finds a mentor in the high churchman, Ceccani, who is bent on keeping the papacy in Avignon. He plans to destroy Jews as symbolic expiation for plague, widely construed to be a form of divine punishment. Olivier befriends a Jewish scholar and falls in love with his beautiful heretic servant.
The 'Dream' and the imprisonment of his friends lead Olivier to question and then betray his mentor. Either because of his efforts to save them, or for his role in a murder, he is mutilated--his tongue and hands cut off to rob him of speech and writing. The brutal mutilation appears early in the book--it is not fully explained until the end.
Julien is a French historian who has studied the poet, Olivier, and the rendition of Manlius' manuscript. He finds solace in his erudition as his county falls to the Nazi occupation. An old school friend who is a collaborator, gives him work as a censor and tolerates Julien's Jewish lover, the artist Julia. In the end, Julien is forced to choose between saving either another school friend in the Resistance or Julia. He chooses Julia, looses her anyway, and commits suicide in a vain attempt to warn his friend.
Summary:This story of one exceptionally accomplished family's discovery of their past and future relationships with Huntington's Disease (HD) is also the story of how the Wexler family changed the cultural narrative of HD for other families at risk for this genetically-transmitted and currently incurable disease. The HD diagnosis of Leonore Wexler (the author's mother) inspires Milton Wexler, a psychologist, to create a major foundation for HD research, which develops critical mass and influence as Leonore Wexler's condition deteriorates, and after her death. The book interweaves the story of the Wexlers' emotional and other negotiations with HD and the story of their efforts to create an HD community comprised of those with active symptoms of HD, family members, advocates, and researchers.
Vladimir Semyonich Liadovsky fancies himself a literary man; he writes book reviews. His sister, Vera Semyonovna, is a young widowed physician who doesn't practice. She lives with Vladimir and does nothing but lie around and wonder, "What is the meaning of non-resistance to evil?" As she becomes more obsessed with this question, her relationship with her brother worsens.
Finally, she abruptly announces that she is leaving--she will go into the provinces to do vaccination work. Vladimir doesn't regret her leaving. He continues to write his articles, falls ill, and dies. The narrator doesn't know what happened to Vera.