Showing 41 - 50 of 72 annotations tagged with the keyword "Eating Disorder"
Fraser’s subtitle is accurate; this book tells about a middle-aged woman rediscovering her difficult past of incest from her father and abuse, as a child, from another man. She tells her life story of growing up in a working-class neighborhood in Hamilton, Ontario, Canada, going to university, marrying, and becoming a journalist. All the while, anger and rage fuel her, but it is only after surgery (for fibroids) and psychotherapy that she can recall the abuse and has it corroborated by others. Fraser understands that her personality split into three personae; she uses her dreams, her writing (including six novels), and her childhood drawings to understand what happened to her. Finally she is able to forgive her father (although after his death) and continue with her successful career as a writer.
According to the U.S. Department of Health and Human Services, nearly thirty-one percent of the American public is obese; obesity accounts for 300,000 deaths a year, making it the second-most common preventable cause of death after cigarette smoking; individuals who are obese have a fifty to one-hundred percent increased risk of premature death from all causes. On the opposite end of the scale, so to speak, is anorexia, which, as one of the deadliest of psychiatric diseases, claims up to fifteen percent of its sufferers who either die of suicide or complications related to starvation; about one-third spend their lives dominated by their obsession with food, and almost half never marry.
How can we ever understand the psychological, physical, emotional, cultural and spiritual complexity of eating disorders, whether they result in morbid obesity or in a starving body digesting itself? Ann Pai's memoir opens a window to reveal the inner world of a food obsession, her own, and holds up a mirror to reflect the outer experience of a dying, five hundred fifty pound woman, her sister.
The narrative weaves together three strands: the sweet but unsentimental history of two sisters growing up in the midwest--Joyce, the elder of the two, and Ann, younger by almost five years; the detailed and horrific account of Joyce's sudden hospitalization on September 11, 2001, and her inexorable decline through multiple, undiagnosable and fatal illnesses as the result of her obesity; and the stream-of-conscious and raw monologue of Ann's own struggle to manage a compulsive eating disorder.
Summary:Pym’s novels depict ordinary life among middle class Englishmen and women with compassion, humor, and irony. The quartet denoted in this title consists of two men and two women in their sixties, the autumn of their lives. These characters hold menial jobs at the same office in London during the nineteen-seventies; two live in rented rooms, and two own their own small houses. Pym’s opening chapter catches them going to the library, because it is free. She clues us in to their personalities by describing their hair: Edwin’s hair is “thin, graying and bald on top”; Norman’s hair is “difficult”, as he is; Letty wears her faded brown hair too long and soft and wispy. Marcia’s hair is “short, stiff, lifeless” and home dyed. (1-2)
This is a harrowing story, told in the first person, of an obsession with food and body image. "One day I will be thin enough", says Josie, the 25 year old anorectic woman who has been hospitalized for life-threatening self-starvation. "Just the bones, . . . the pure, clear shape of me." "One day I will be pure consciousness." The narration spins out in painful detail the pattern of compulsive behavior which pervades Josie’s existence. Her pitifully barren emotional life is revealed as well.
How did it all begin? Flashbacks of significant events invade Josie’s attempts to stop thinking. A shy, awkward adolescent, overly sensitive to casual comments about excess flesh, decides to diet. Josie stumbles non-communicatively through a teen-age sexual initiation to a later affair with her married professor, retreating ever further from her bewildered family.
But why do events take such an extreme turn? The mystery of anorexia nervosa remains. In the hospital, a nurse who has seen everything seems to strike some responsive cord, and Josie begins eating to gain weight. At the end of the novel she’ll soon be released , under supervision, but the outcome is in doubt. "Can I learn to be so present? Can I learn to be so full?" ". . . if I were a body, what would I be?"
A waitress is assigned a particularly obese customer. She is mesmerized by him: by his physical appearance, what he orders, how he eats, and especially by his gracious manner toward her. The consideration he shows contrasts greatly with how she is treated by her demanding, insensitive boyfriend. The encounter is of major significance to the waitress: the story is framed by the first person narrative of the story within a story, and the final comment, "My life is going to change. I feel it."
This extraordinary anthology of 65 poems examines the relationship of parents to their grown children from the parents’ point of view. The poets are well known (among these, Grace Paley, Ruth Stone, Kumin, Maxine , Marilyn Hacker, Alicia Suskin Ostriker, Linda Pastan), and lesser known, female and male ( Dick Allen, Raymond Carver, Hayden Carruth, and Robert Creeley), but all poems deal head on with situations that often confront parents.
Situations examined are: the addiction of grown children ("To My Daughter"), their illnesses ("Pittsburgh," "Anorexia"), their own visible aging ("The Ways of Our Daughters"), the frustration of poor communication ("Lowater Bridge," "Harmonies for the Alienation of My Daughter," "Listen," "Potentially Fatal Toes," "Letter to a Son I Once Knew"), the way parents aren’t really the people their children think they are ("The Children"), and the joy when, even for a moment, love and safety reign ("Time, Place, and Parenthood," "Visual Ritual").
In these poems parents stand at the doorway and watch their children caring for their own children ("Sometimes," "Practicing") and they invoke family histories ("The Blessing," "Girl Children," "On an Old Photograph of My Son"). They dread the ringing of the phone ("Hours After Her Phone Call," "Long Distance Call from the Alone & Lonely") and they worry over children’s marriages, physical pains, and the disasters in their lives that parents cannot fix but feel they might have caused ("What I Need to Tell You," ""Letter: Thursday, 16 September," "Love is Not Love").
Healy focuses on the social and cultural meaning of disease in Britain during the early modern period (roughly the sixteenth and seventeenth centuries). Her chapter on "The Humoral-Paracelsan Body" discusses how the humoral theory of Galen, at this time still dominant in constructing a notion of the human body and its functions, was challenged by a new Paracelsan medicine, with its emphasis on spirit and on experiment instead of book-learning, and by the emergence of syphilis. She also establishes the genre of the "regimen[t]," a text advising how to achieve personal and social order.
Her two chapters on "The Plaguy Body" review the late-medieval and Renaissance history of the plague and argue that the social meaning of the plague as a trope of violence and rebellion shifts over the course of the sixteenth century, from a judgment on Britain's "rich extortioners," careless of the welfare of the poor, to the threat represented by London's unruly urban underclass.
Healy's two chapters on "The Pocky Body" argue that the new disease of syphilis became another dominant metaphor for social disorder because it helped focus anxieties about cultural hypocrisy, corruption, and degeneration, linked to the problems of sin generally and excessive appetite in particular. Her final chapter examines "The Glutted, Unvented Body," another powerful figure of excessive appetite, threatening that the body (and its appetites) would dethrone the head (the site of reason).
Healy demonstrates the importance of debates over the glutted, headless body as a way for British writers to negotiate the problems of a trade imbalance and the tricky terrain of resistance against the intemperate Stuart monarchs, culminating in the execution of Charles I in 1649. In the book as a whole, Healy reads literary and historical texts by authors as diverse as William Bullein, Thomas Dekker, Lucretius, Erasmus, William Shakespeare (Measure for Measure and Pericles), and Milton (Comus).
Esther (Marina de Van, who also directed the film) is a young urban professional woman. At a party, she goes out into the dark garden and trips, falling and tearing her trousers. Only several hours later does she realize that she has seriously wounded her leg. This is either the beginning of, or the first evidence of, a radical shift in her relationship with her own body.
The doctor who stitches the wound is surprised that she had not felt injury, and tests her for neurological damage, finding none. She starts cutting at the wound, refusing to let the skin close. Her boyfriend, Vincent (Laurent Lucas) and her friend Sandrine are both concerned and repelled by her behavior. She experiences a kind of separation from her body, and it appears that her mutilation of it is an effort to re-anchor herself in her own flesh.
At an important business dinner with clients, she drinks too much and suddenly experiences her left arm as separate from her body, a severed object that threatens to act on its own. She has to stop her left hand from playing with her food and, holding her arm on her lap, she cuts it as if to make it feel, to use pain to reattach it. To explain away the damage she has done to herself, she has to fake a car accident.
Eventually the compulsion exceeds her ability to control it, and she enters a crescendo of mutilation. She hurts her body with calm, detached interest, cutting her face, attempting to tan a piece of skin she has removed from herself, even eating her own flesh. At the end of the film she is alone, in some kind of new state that is not explained.
A young art student falls off a ladder and literally lands into the arms of a middle-aged doctor. Daisy Whimple is a poor, homeless woman with multiple body piercings. She has volunteered to decorate the Gynae Ward of the hospital where she had once been a patient undergoing surgery for a complicated abortion.
Dr. Damian Becket is an obstetrician and gynecologist. He is a lapsed Catholic who is separated from his wife. Becket is interested in modern art and attracted to an art historian, Martha Sharpin. The hospital has a collection of medical antiquities in need of cataloging. Some of the pieces are treasures but others are horrible relics. Martha is in charge of organizing the collection, and Daisy is paid to assist her.
Because she has nowhere to live, Becket invites Daisy to stay at his apartment. They make love every night for one week until she leaves. While attending an art exhibit, Becket and Martha spot a sculpture of the goddess Kali. The figure is comprised of artifacts "borrowed" from the hospital's collection including prosthetic arms, antiquated instruments, and body parts. It is designed by Daisy.
The sculpture is not the only unexpected thing created by Daisy. She is pregnant by Becket. Daisy requests an abortion but he insists that she have the baby. The pregnancy is almost miraculous given the damage done to Daisy's fallopian tubes from her previous abortion. It turns out to be a difficult delivery and Becket must perform it since he is the most qualified obstetrician at the hospital. The baby is a healthy girl. The newborn child radically changes the lives of Daisy, Becket, and Martha, yet the three of them have no clue what to do next.
Intended for both the general public and medical professionals, Reel Psychiatry is a comprehensive catalogue of mainstream films that accurately portray psychiatric conditions. Robinson combines his "two passions: teaching psychiatry and watching films" to create a classroom resource for medical educators who want to use film to teach the diagnosis and treatment of psychiatric disorders and a critical compendium for anyone else who has more than a passing interest in cinematic works that dramatize the personal experience of patients and professionals grappling with mental illnesses.
The book is organized in three sections: primary psychiatric disorders such as schizophrenia, depression and bipolar disorder; personality disorders and mental retardation; and substance-related disorders and general medical conditions. The general symptoms and associated features of each condition are first set forth and then followed by descriptions of individual films that depict those symptoms and features.