Showing 421 - 430 of 444 annotations tagged with the keyword "Depression"
In this autobiographical novel, Plath's protagonist, Esther Greenwood, sinks into a profound depression during the summer after her third year of college. Esther spends the month of June interning at a ladies' fashion magazine in Manhattan, but despite her initial expectations, is uninterested in the work and increasingly unsure of her own prospects.
Esther grows disenchanted with her traditional-minded boyfriend, Buddy Willard, a medical student who “had won a prize for persuading the most relatives of dead people to have their dead ones cut up, whether they needed it or not . . . . ” Returning home to a New England suburb, Esther also discovers that she's been rejected from a Harvard summer school fiction course. Her relationship with her mother is painfully strained.
Suddenly, Esther finds herself unable to sleep or read or concentrate. She undergoes a few unsuccessful sessions with a psychiatrist, Dr. Gordon, as well as terrifying electroshock therapy. She becomes increasingly depressed, thinks obsessively about suicide, then attempts to kill herself by crawling into the cellar and taking a bottle of sleeping pills: "red and blue lights began to flash before my eyes. The bottle slid from my fingers and I lay down." Esther vomits, however, and so, does not die. She is taken to a city hospital and then, through the financial intervention of a benefactor, to a private psychiatric institution.
There, Esther begins gradually to recover. She enjoys the pleasant country-club surroundings and develops a closeness with her analytically-oriented psychiatrist, Dr. Nolan. Esther also undergoes a more successful regimen of shock therapy, after which she feels the "bell jar" of depression lifting.
The stigma of attempted suicide and hospitalization seems to free Esther to behave less traditionally; defiantly, she loses her virginity to a man she's met on the steps of Harvard's Widener Library. At the novel's end, Esther is preparing to leave the psychiatric hospital and is describing herself, optimistically, as transformed.
Summary:A witch doctor treated a man for trachoma with a caustic root, and the man went blind. Terrified and depressed, he sat in the doorway of his home for two years while "his wives ministered" to him. One night he went off on his own and "fell into a dry well and died upside down."
Narrated in the style of an "advice" manual, this is the chronicle of a woman who undergoes a hysterectomy and removal of her ovaries. The tone is sardonic. The story begins with the office visit in which the doctor delivers the news and reassures her that she is too "intelligent and sophisticated" to associate her womanhood with her reproductive organs. The physician attempts to persuade the narrator to have her ovaries removed--preventive medicine against the possibility of ovarian cancer--and she finally agrees while groggy from pre-operative anaesthesia. Nothing has prepared her for the emotional and physical lability she experiences after surgery. Even her sexual relationship with her husband is changed.
As she returns for post-operative check-ups, she becomes increasingly conscious of the indignities of the office visit and physical examination: "it strikes [her] that this maximum-efficiency set-up [three cubicles with naked, waiting women] might serve equally well for a brothel and perhaps already does." She feels that she has made a terrible mistake in allowing the doctor to have talked her into anything and that as a male, "there is nothing he can tell you about how you feel, for the simple reason that he does not know."
Seventeen year-old Phyllis Halliday lives with her parents near the maximum security penitentiary in Kingston, Canada. In the year 1919-20, she establishes a forbidden, epistolic relationship with convict Joseph Cleroux, who is serving a sentence for theft and extortion. Messages, money, and small gifts of tobacco, chocolate, and a ring, are concealed in the quarry next to her home where the convicts are sent to work. Influenced by the newly released film with Mary Pickford, she dubs her new friend "Daddy Long Legs," and herself, "Peggy."
Both Phyllis and Joe fear being caught, and they suffer from parallel illnesses. As she falls in love with the man whom she has never met, she neglects her studies, hoping that he will come for her when he is discharged. However, on that day, he is immediately put on the first train out of town. His letters dwindle and cease, but Phyllis continues to wait and hope.
Elizabeth Carpenter is preparing for her fiftieth wedding anniversary and hoping that her children will come home for the event. She nurses her irritable, invalid husband, a retired teacher, who has been a rigid father and is now bedridden with a chronic illness. He is too proud to ask for the things he needs or wants, and spends his vacant hours comparing what he perceives as the dull, dutiful Elizabeth to the "other woman" he loved long ago.
Their oldest child, Victoria, once a fragile beauty full of promise, is institutionalized for a chronic mental illness characterized by irrational fears and self-doubt. The middle child, Jason, is a psychiatrist who has been unable to establish trusting relationships and seeks affirmation through multiple sexual adventures. The youngest child is Emily, a concert violinist whose way of achieving peace is to live abroad, avoiding commitments and her family from whom she is hiding the fact of her own son, Adam. But the reunion leads them to revisit relationships and events in the past and results in some surprises for their present and future.
Slater subtitles her book, A Therapist's Memoir of Madness. Embedded in this definition are two elements: a psychotherapist's composite experiences with a small cadre of patients and the therapist's personal experience with a mental disorder. The author draws the reader into a fascinating series of anecdotes based on therapeutic encounters.
These stories are as much, if not more, about the therapist's deepest responses to her patients than about the patient him or herself. This particular approach adds an element of confession to the work that one does not often find in clinical studies. And, finally, Slater takes the reader backward in time to her own past as a woman with profound emotional pain.
In this collection of poems, the author details her descent into the hell of bipolar disorder and the re-integration of her life, thanks to lithium therapy. In "Other Lives" she describes herself as "mother of none, good friend to all, / who for no apparent reason, / tries to kill herself, twice." She writes angrily to the psychiatrist who misdiagnosed her and prescribed the wrong medication: "Your first mistake was to see me at all. / Your second, prescribing the Elavil." (in "Shocking Treatment") While she misses the productivity and "rush" of her hypomanic episodes, she realizes this is the price she has to pay to avoid another "two years of pain or nothing, numbness."
As the author's health improves, she cares for friends who are dying of AIDS and for the dying father of a friend: "I'm learning, as I nurse / my father that the worst / would be protection from / death's reality." (in "For Jean") The collection is interlaced with a series of poems called "Black Stones" in which the author encounters very directly the reality of death. In the last of these, she cries out the words of her friend Matthew who has just died: "Rika, dear friend, live and live and live!"
Summary:In this journal of her 66th year (one of several volumes of her widely-read journals) May Sarton reflects on the depression of losing a long, intimate friend to acute senility, on living with waves of loneliness in a life of chosen and beneficent solitude, and on a mastectomy which followed quickly upon diagnosis. She weaves together themes of friendship, especially friendship among women, mental and physical health, speculating on psychosomatic dimensions of illness, living with an aging body, and the ongoing issues of self-esteem that aging and solitary women confront in a particular way. Each of the 2-3 page entries is a complete and complex reflection, beautifully developed, and often pithy and poetic.
Summary:The Stone Diaries recount the life of Daisy Goodwill (1905-199? [sic]). "[W]ife, mother, citizen of our century," her son closes the benediction of her memorial service. Yet Daisy is also the orphaned daughter of an orphan--her dramatic birth a turning point for her father, the neighbours--and a social outcast. Daisy becomes a happy child, a lifelong friend, a college graduate, a consummate gardener, a cultivator of stories, a pragmatist, a romantic, a widow twice (once scandalously, once more ordinarily) . . . . In short, the diaries of "Day's Eye" bear witness to the extraordinary lives of seemingly ordinary "citizens."
This is another of Hemingway's dense vignettes, filled with nuance but spare in style. The anecdote revolves around the difference between a clean, bright cafe and a dark, not-so-clean, bar as a place for lonely men to spend the long, sleepless nights. Two waiters discuss a lingering patron in a cafe who overstays his welcome as the night wears on. The old man gets quietly drunk each night; just last week he tried to kill himself, but was rescued.
Tonight he tries to pass the night in a clean, well-lighted place. The young waiter, impatient, to get home to his wife, does not comprehend the importance of this place to this old man's survival. The older waiter, who does understand, walks into the night himself, unable to find his own clean, well-lighted place in which to pass a lonely and sleepless night.