Showing 461 - 470 of 582 annotations tagged with the keyword "Individuality"
The narrator stands working at her ironing board, responding mentally to a request someone (a teacher? a social worker?) makes of her regarding her daughter Emily, "I wish you could manage the time to come in and talk with me . . . She's a youngster who needs help." The woman's thoughts go back to Emily's birth during the Depression when she was only 19, and her thoughts range forward, haltingly, in piecemeal fashion, through her daughter's difficult childhood.
Due to the wages of loss, poverty and dislocation, a wall has grown up between mother and daughter--she has always wanted to love the sickly, awkward, stiff, and isolated girl, but has not been able to penetrate the wall. And then, she recalls, out of nowhere Emily won first prize in her school amateur show. The girl is a natural performer, a wonderful comedienne, who now is in demand throughout the city and state.
Suddenly, Emily appears on the scene. "Aren't you ever going to finish the ironing, mother?" She says that she wants to sleep in the morning, even though this will make her late for mid-term exams. Near the end of the story the narrator imagines telling her interlocutor, "Why were you so concerned? She will find her way." But then she implores, "Only help her to know--help make it so there is cause for her to know--that she is more than this dress on the ironing board, helpless before the iron."
Paula Henning (Franka Potente) is a brilliant medical student from Munich, who comes second in the Robert Koch competition winning a place at the prestigious Heidelberg medical school. Medicine is a family tradition, but Paula has little respect for her father's boring suburban practice. Instead, she takes inspiration from her dying grandfather, an academic doctor, who celebrates her decision.
En route to Heidelberg she meets the stunningly beautiful and highly sexed Gretchen (who stood first in the competition) and David, a 22 year-old lad with cardiomyopathy and multiple piercings. Gretchen is interested in partying; Paula is serious, studies all the time, and ignores fellow student Caspar (Sebastian Blumberg) who strives for her attention. When David appears on the dissecting table with no obvious cause of death and "rubbery blood," Paula begins investigating. She determines his death is due to Promidal--a drug developed by The Anti-Hippocratic Society (or "AAA!").
This clandestine group engages in unethical anatomical research on living subjects to "better" the human race. Her classmates scorn her conspiracy theory, but she is drawn deeper into the mystery when Gretchen disappears only to reappear as a perfectly dissected, plasticized cadaver. Paula nearly succumbs to the same fate with her lover, Caspar (who turns out to be an incognito history student writing his thesis on the AAA! ). The ending is happy, although Paula must reckon with the discovery that her venerated grandfather was a member of the "AAA!".
As the narrator, an "outcast among outcasts," begins to recount his story, he cautions the reader that "William Wilson" is not his real name; he doesn't want the page to "be sullied with my real appellation." The miserable man tells of his childhood and his life at school, where he encountered another boy who looked exactly like himself and had the same name and birthday.
All the children at school recognized the narrator's preeminence among them, except for this strange double. While the first William Wilson was aggressive, witty, and imperious, the double presented himself as quiet, gentle and wise--but unthreatened. In the end their feelings towards each other "partook very much of positive hatred."
Many years later, as the narrator was busily engaged in cheating at a game of cards, the second William Wilson suddenly appeared out of nowhere and revealed Wilson's scam to everyone present. Subsequently, time after time, just as Wilson was about to achieve some nefarious end, this anti-Wilson unerringly stepped in and destroyed Wilson's chances.
The last straw occurred in Rome during Carnival; just as Wilson was about to seduce a married woman, his double arrived to squelch the affair. Wilson flew into a rage and killed his nemesis, only to discover he had stabbed a mirror--but the dying image in the mirror whispered, " . . . How utterly thou hast murdered thyself."
This is the first "selected poems" by Claes Andersson to appear in English. Drawn from his 18 collections published in Finland, they are generally short (less than one page) poems without titles. As the Introduction notes, Andersson's early poetry features blunt language, while his later work strives for more musicality. Drawing on his psychiatric experience, Anderson uses "private life as a foundation for an investigation of all that shapes our identity."
Friendship is a frequent theme in these poems, as in "Philemon and Baukis": "If you become a fir / I'll be a birch/ Thus you protect and warm me / through the cold seasons / In return I'll dance for you / in the summer nights . . . " (p. 75) One of the most striking poems in the collection is "the new theology," which begins: "Disease is the conscience of the body / What would we be without our ailments . . . " (p. 112)
This autobiography by Janet Frame, a preeminent New Zealand writer, was originally published in three volumes in 1982, 1984, and 1985. The first volume is titled To the Is-land. In it the author tells the story of her early life "with its mixture of fact and truths and memories of truths." She describes her mother as a rememberer and a talker, partly exiled from her family through a marriage outside the family's faith and her father as having a strong sense of formal behavior that did not allow him the luxury of reminiscence. Her siblings (4 sisters and 1 brother) are described in equally perceptive language. The brother suffered from epilepsy which was poorly controlled and this had a strong influence on family dynamics.
Frame's writing is so descriptive and personal that it is easy to envision oneself as a family member. She was very early attracted to words and became a voracious reader. The family was poor and moved often but there was a firm family kinship. One older and one younger sister drowned when swimming which had a large impact and drew Janet much closer to the remaining younger sister. Janet was a good student and won many prizes; she writes that she "identified most easily with the stoical, solitary heroine suffering in silence."
The second volume, An Angel at My Table, concerns itself with Janet's experience as a student at Dunedin (Teacher)Training College and her subsequent breakdown and commitment to mental institutions. She was very lonely in college and retreated more and more into her own world of literature. At the end of her year of probationary teaching she walked out of the room during the visit of the school's inspector and disappeared.
After a suicide attempt she was eventually committed to Seacliff, a mental hospital. Her stay there, she writes, and later in another facility which eventually lasted most of seven years, was in a world she'd never known among people whose existences she never thought possible. She describes it as an intensive course in the horrors of insanity. She received multiple electric shock treatments and was scheduled for a lobotomy when it was learned that she had won a prestigious award for a book she had written.
Frame was discharged on probation and lived for a while in a small cottage owned by a well known writer who befriended her. After her book of prose and poems was accepted for publication she was awarded a grant that allowed her to travel abroad.
The third volume, The Envoy from Mirror City, is quite mystical and concerns itself with her life as a writer in England, Spain, and New Zealand after her return. She describes Mirror City as the saving world which sustains writers. She has continued writing and eventually learned that the diagnosis of schizophrenia, with which she had been burdened, was incorrect. With some life experience and wise psychotherapy she was able to write about her life in the mental institutions, among other things.
In all she has published eleven novels, four collections of short stories, a volume of poetry and a children's book.
The novel opens with a man known only as Pilgrim hanging himself in London in 1912. Despite being pronounced dead by two physicians, he somehow lives. Pilgrim has attempted suicide many times before but is seemingly unable to die. He claims to have endured life for thousands of years but has tired of living and only longs for death. He has crossed paths with many historical figures including Leonardo da Vinci, Saint Teresa, Oscar Wilde, and Auguste Rodin.
After his most recent suicide attempt, he is admitted to a psychiatric facility in Zurich as a patient of the famous Swiss psychiatrist, Carl Jung. Pilgrim eventually escapes from the institution and masterminds the successful theft of the Mona Lisa from the Louvre. Next, he sets the cathedral at Chartres on fire. The novel ends with Pilgrim driving a car into a river on the eve of World War I. His body is never found.
A physician seeks solace at the South Pole. Her planned one year stay there is cut short when she discovers a lump in her breast. The attempts to care for her at the South Pole (with telecommunicated help from the U.S.) prove insufficient and a plan to rescue her is successful.
There's more than the drama of illness in a remote location in this book, however. Intertwined with this story of illness is the story of the author's troubled marriage (to her physician-husband), the eventual estrangement from her children, the support of her family of origin, and most fascinatingly the daily rhythms of living (and doctoring) at the South Pole. Scattered throughout the memoir are occasional critiques of "corporate" medicine and poems that inspired the author throughout her ordeal.
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."
Summary:A tiny figure slowly emerges from a vast expanse of snow, and a succession of short essays recreate moments in the life of the brilliant Canadian pianist, Glenn Gould (Colm Feore). From his unusual Ontario childhood to his musical debuts on the international stage, to his eccentric living, performing, dressing, driving, waking, and sleeping habits, this film offers insights into his loneliness, hypochondria, polypharmacy, and tragic death from a stroke at age 50 in 1982. The artistic vignettes are enriched by a tender humour, the intimate recollections of real-life friends, the abstract beauty of piano keys in motion, and above all, Gould's immortal playing.
Mohammed (Mohsen Ramezani), an eight year old blind boy attending a special school in an Iranian city waits for his widowed father (Hossein Mahjub) to bring him home to his isolated, but idyllic Iranian village for summer recess. During several interminable hours of waiting outside the school, viewers come to recognize the boy’s sensitivity to his surroundings. Through sound and feel he is at one with nature. Remarkably, he is able to rescue a vulnerable baby bird and return it to the tree branch nest from where it has fallen.
Unfortunately, Mohammed’s father fails to exhibit this kind of care with his son. The tardy reunion is painful: rather than embracing the boy, the father requests that school officials keep the boy during the recess. When the request is refused by embarrassed faculty members who are sympathetic to the child’s family needs, father and son begin the long walk, then bus ride into the distant countryside.
In contrast, Mohammed receives a warm and loving welcome from his Granny (Salime Feizi), his sisters, and the neighboring children. Immediately, the children run with him into the meadows to explore and celebrate. Clearly, this is Mohammed’s nest.
Even though Mohammed’s abilities at the local school are superior to those of his classmates and even though he is able to function in normal play with his peers, the father focuses only on the boy’s removal from the family and the village so that he can find a new wife to care for him and his other children. The unprepared boy is taken abruptly by his father to a blind carpenter many miles away where he will serve as an apprentice. Although the carpenter is kind, Mohammed is devastated by the cruel separation from Granny and the children.
Unburdened, the father goes forth with plans for another marriage, but before the arranged ceremony occurs both the heartbroken Granny and Mohammed die. The bride-to-be and her family regard these losses as unhealthy portends. Marriage plans are canceled. Only then, does the father recognize his own blindness.