Showing 491 - 500 of 523 annotations tagged with the keyword "Disability"
Summary:In this collection, sixteen writers (including the editor, in her introduction) recount the deaths of one or both of their parents. They explore a wide range of questions: about the relationship between parents and their children, about the inevitability of the loss of that relationship (if it is lost in death, for, as the editor asks, "is the death of a parent really the end of the relationship?" [p. 2]), and about the conflicts that arise between the necessary separation that comes with adulthood and the complex ongoing attachments which in these stories enrich, haunt, inform and in many ways determine the lives of the tellers.
This is the second of 13 short autobiographical pieces in the book, Naked. In it, Sedaris describes, in vivid and humorous detail, the obsessive compulsive behavior that plagued his life from grade school into college. From licking every light switch encountered, to counting each of "six hundred and thirty-seven steps" on the way home from school, "pausing every few feet to tongue a mailbox" and having to retrace his steps if he lost count, Sedaris was compelled to " . . . do these things because nothing was worse than the anguish of not doing them."
Each year, a teacher called on his mother to discuss the strange tics. His mother took his behavior and these visits in stride: "The kid's wound too tight, but he'll come out of it. So, what do you say, another scotch, Katherine?" "She suggested my teachers interpret my jerking head as a nod of agreement. 'That's what I do, and now I've got him washing the dishes for the next five years.'"
Life became more complicated when Sedaris entered college and had to contend with a roommate. There are amusing descriptions of the elaborate stratagems that he devised to conceal or explain the tics. Finally, "my nervous habits faded about the same time I took up with cigarettes . . . more socially acceptable than crying out in tiny voices."
This book is a series of essays about the illness experience. The author developed chronic fatigue syndrome (CFS) after a viral illness in 1988. Suddenly, this 41-year-old public policy analyst, who was also a successful writer and a competitive runner, was thrust into the world of severe disability. He developed subtle but extensive neurological deficits that affected his concentration and memory. For months he could hardly get out of bed. He discovered that not only was the cause of CFS unknown, many physicians did not even believe it was a "real" illness.
"Double Blind" tells the story of Skloot's participation in an ill-fated clinical trial of Ampligen, an experimental treatment for CFS. Other essays describe the author's experience with alternative medicine, including an intensive course of Ayurvedic "detoxification" ("Healing Powers") and a visit to Germany to encounter Mother Meera, an avatar of the Divine Mother ("Honeymooning With the Feminine Divine").
"Home Remedies" presents his comic experience with helpful calls and letters telling him how to get rid of the illness. Other essays deal with Skloot's learning to cope with chronic disability. A final section includes poems about the illness experience of several composers and artists (e.g. Carl Maria von Weber, George Gershwin, and Vincent van Gogh).
Summary:The Giant's House is narrated by Peggy Cort, a young librarian in a small Cape Cod town in the early 1950s. She falls in love--and her life becomes inextricably tangled--with James Sweatt, a young boy who suffers from gigantism.
In Book I Oliver Sacks describes his visit to Pingelap and Pohnpei in the Caroline Islands (now a part of the Federated States of Micronesia). On Pingelap (population 700) 5-10% of the people are completely colorblind; i.e. they have a rare hereditary condition called achromatopsia in which the retina has no functional cone cells. Rod cells, which normally provide peripheral and night vision, are their only source of vision. While partial colorblindness is common, achromatopsia is normally very rare. Sacks and Knut Nordby, a Norwegian scientist who is himself achromatopic, examined dozens of achromatopes on Pingelap and in a village of Pingelapese people on the larger Pohnpei.
In Book II Sacks takes the reader to Guam where he investigates (with his friend John Steele, a neurologist who lives on the island) the neurological disease called "lytico-bodig." The "lytico" form of this disease is a progressive paralysis similar to amyotropic lateral sclerosis, while the "bodig" form resembles parkinsonism. Both appeared in Guam after the Second World Way and now seem to be dying out. However, no one has ever determined their cause.
Sacks tells the story of his visit, while also discussing various hypotheses that have been considered and discarded over forty years of study. The last section of the book describes a trip to Rota, a small island north of Guam, where Sacks visits a forest of cycad trees and discusses his life-long fascination with these primitive plants.
Summary:The poem, written in German, appears in both German and English in this and other versions. Those who understand German may feel that something has been lost in translation, inevitable for rhyming poetry. Nevertheless the "endless outcry" of isolation and bitterness is well expressed. This blind man is totally unresigned to his condition; "every day I despair." He feels himself uniquely cursed. He mocks those who are sighted for believing that THEY might be special and he is contemptuous of any kindness shown him: no one can understand how he feels.
Summary:The poet has "grown quite good at ignoring" the suffering people who beg in the streets of India. "The beautiful legless girl," "the spider man," the babies with swollen bellies--he has learned to be almost blind to the poverty, disease and deformity that surrounds him. Or, at least, he pretends not to see, and then tries to sneak a photograph. He knows that if he tried to help these people, "next time / they would claw me to shreds."
The memoir is divided into roughly two halves: before Mike's death and after Mike's death. The narrator is one of the dying man's circle of gay and lesbian friends, and becomes, for unclear reason's, his most involved caregiver. She goes to his apartment on summons at any hour, flies to Memphis when Michael is hospitalized after collapsing, loans him money, and endures relentless psychological abuse as his cognitive powers fade.
In the second half of the book, the writer reflects. Her anger toward Mike's disease, AIDS, and Mike himself does not seem tempered by the passage of time. She is still struggling at the end of the tale, more than two years after Mike's death.
Larry is dying of multiple sclerosis. He walks only with assistance, suffers severe depression, is beginning to be incontinent, and has attempted suicide. His best friend, Chris, decides to take him duck hunting, a sport that has been central to their close relationship. This, however, will be their last trip: Chris has decided to drown Larry in the marsh, as a last act of his love.
As this novel retraces the growth of their friendship, it also traces the growth of Chris's love for Larry's wife, Rachel. Rachel has been an almost saintly caregiver for her husband, weathering his increasing disability and despair, while struggling to maintain her own identity and peace of mind.
The title refers to the lineage of women who form the unusual community surrounding the central character’s life in the decades following World War II. When we first meet Antonia (Willeke Van Ammelrooy), she is an elderly Dutch woman announcing to herself that today is the day she will die, and when the film concludes, indeed, she does. However, what transpires in-between presents a rich story of birth, death, disability, love, hatred, and, above all, a tenacious sense of nurturing regeneration in spite of harsh and difficult obstacles.
Audiences are swept into a pastoral epic filled with the pathos and joy of human life. In the unfolding flashback, Antonia and her teen-aged daughter, Danielle (El Dottermans), return to her rural birth setting on the day her own mother dies, and where she will become the life force for her daughter and, eventually, for the entire village.
Two women running a large farm seems at first daunting, but we discover that Antonia is a farmer in what might be called a feminist sense: she cares for everything that grows. Not only do her crops thrive under prudent management, but so do the vulnerable, infirm and damaged figures who are brought into her garden and house for recovery.
For example, Loony Lips, an awkward Ichabod Crane of a boy, tortured as the village idiot, is rescued by Antonia to become a productive member of the farm; later, he and DeeDee, Farmer Daan’s sexually abused and mentally limited daughter, who has similarly been rescued by Antonia and Danielle, fall in love and are married. For all of their shortcomings, the couple’s shy approach to one another, and joys for the simple provenance offered by Antonia as their protector, provide an emblem of the nurturing powers in the female household. Audiences squirm with delight as they watch these discarded members of society flourish with embarrassing innocence.
We watch Danielle’s transformation from adolescence to womanhood and find nothing alarming or disconcerting about her lesbianism and her decision to become pregnant without benefit of marriage. Antonia, always acceptant of life’s realities, continues to care for Danielle’s needs by providing emotional and intellectual support in the search for an appropriate man to father the child.
Much later, Danielle’s child is raped by DeeDee’s brother, who had also been raping DeeDee, prior to her rescue from her father’s malevolent and abusive household. Justice is swift. Antonia, magnificent in her outrage, sweeps across the farm and into the village pub where the males are gathered. With rifle pointed at the rapist’s head, she orders him out of town. [Her form of justice is less brutal than that of Danielle, who, having witnessed the rape of DeeDee by the same man, thrusts a pitchfork into his groin.]
Antonia’s farm grows and expands with new life. Seasons come and go, bringing death and rebirth. Happiness and tragedy exist side by side, as exemplified by the opposing viewpoints of Antonia’s positive spirit, and the pessimistic outlook held by Antonia’s life-long friend, Crooked Finger (Mil Seghers), the melancholic, Nietzche-quoting philosopher, who finds life impossible and unbearable. Whether we are watching Antonia’s mother die, or the Catholic Mad Madonna howling at the moon when she should be loving the Protestant man separated from her by the floor in the building they share, or feeling the appreciation of Farmer Daan’s wife’s for Antonia’s strengths--strengths that she herself does not possess--we are woven in the magic of a remarkably simple and yet complex fabric.