Showing 501 - 510 of 622 annotations tagged with the keyword "Body Self-Image"
Summary:In this simple 21 line poem, the writer speaks to her uterus, which has served her well throughout life, "patient / as a sock." Now, they want to cut it out. Where, the writer asks, where can I go without you? And "where can you go / without me"?
A 23-line poem written during the moments of waiting for the results and upon hearing the results ("i rose / and ran to the telephone / to hear / cancer early detection no / mastectomy not yet"), "Amazons" invokes images of the narrator's real and mythological ancestors and sisters ("women / warriors all / each cupping one hand around / her remaining breast") as she waits, and when she receives the news ("my sisters swooped in a circle dance / audre was with them").
In 1988, having suffered for years from major depression and borderline personality disorder, and now also showing symptoms of obsessive-compulsive disorder, the twenty-six-year-old Lauren Slater is prescribed a new drug: Prozac. In this "diary," a series of meditations and progress reports on her experience, Slater traces ten years on Prozac, providing a remarkable before-and-after picture of the drug's effects.
She is "hobbled" by her illness: has dropped out of college, has been fired from most jobs, has been hospitalized five times. By the end of the book, she has received a doctorate from Harvard, has a successful career as writer, teacher, and psychologist, and is in a happy marriage.
Despite these unquestionable positives, Slater is ambivalent about the drug, describing the shock of becoming "normal," of being assaulted by health. She describes the sexual dysfunction, her anxiety about losing the need and ability to write the kind of poetry she had written before, and the terrifying moment when the drug suddenly stops working, and she must confront the possibility that it may not be a reliable and permanent solution.
She comes to fear that, healthy, she is no longer herself but something the drug has created. At the same time, though, it is only because of the drug that she is even able to ask these questions. Finally, she thanks her doctor for his ambiguous gift: she has become like a beautiful fish, her "skin all silver," her "mouth pierced" on Prozac, "this precious hook."
Peppered with a plethora of black and white stills, this book is a compilation of a physician's film reviews and reflections on how movies have mirrored the changes in medical care and in society's attitudes towards doctors and medicine over the last sixty years. Ten chapters blend a chronological approach with a thematic perspective: Hollywood Goes to Medical School; The Kindly Savior:
From Doctor Bull to Doc Hollywood; Benevolent Institutions; The Temple of Science; "Where are All the Women Doctors?"; Blacks, the Invisible Doctors; The Dark Side of Doctors; The Institutions Turn Evil; The Temple of Healing; More Good Movie Doctors and Other Personal Favorites.
The appendices (my favorite) briefly note recurring medical themes and stereotypes ("You have two months to live," "Boil the Water!"). Formatted as a filmography, the appendices reference the chapter number in which the film is discussed, the sources of the photographs, and a limited index.
This interesting and meaningful book of poems is difficult to describe and to classify. The author has had three kidney transplants and so is knowledgeable about chronic illness and its impact. Though he does write about dialysis and transplantation, he also writes about many other kinds of illness, including the chronic fatigue syndrome, dementia, autism, cancer, and mental illness.
"Three Doctors" describes the gathering of physicians each morning to check on their narrator/patient, regardless of who overhears their conversation. The "Non-verbal Autistic Man" traces the daily, lockstep gait of a human being who speaks only one phrase and who walks the same path over and over. Not all of the poems concern the failure of the body. There are also descriptive poems about the Midwest and about various well known personages. The constant reinvention of the individual, even in the face of difficulty and death, is a common theme of this collection.
American Beauty, a story about Lester Burnham (Kevin Spacey), his family, and his neighbors, is both comic and tragic. In addition to a loveless marriage, an unhappy teen-age daughter, and an unimaginative, routine job, Lester is worried about aging. Nothing has turned out as expected. From the outside, all seems ideal: the white-framed house, the well-tended red roses, and the white picket fence. As illustrated by meal time settings, a highly-charged cold war atmosphere prevails inside the house. Lester and his wife Carolyn (Annette Bening), a realtor, cannot stand each other and their daughter, Jane (Thora Birch), has no desire to be with either of them.
From the onset, Lester’s narrating voice tells us that he will be dead in a year. He has no illusions about the repressive nature of his life and decides, unilaterally, that abrupt changes are in order. His scripted family role is cast aside as he quits his job, lusts after his daughter’s sexy friend, Angela (Mena Suvari), and smokes an illegal substance with Ricky (Wes Bentley), a teen-ager who has moved in next door.
Uncharacteristic of his customary, go-along behavior, the new, rebellious Lester throws a plate of asparagus against the wall during dinner, drinks beer while lounging on the expensive off-limits couch, works as a cook and waiter at a local fast food restaurant, and begins a body building program so as to impress and seduce Angela. Meanwhile, Carolyn has an affair with a competing realtor and Jane falls in love with Ricky.
Two gay men, who are thoughtful and kind, live on one side of the Burnhams; on the other side, Ricky lives with another version of disturbed parents: an abused and deeply depressed mother and a retired, Marine father (Chris Cooper) who bullies his son, is expressively homophobic, and collects guns and Nazi era memorabilia.
The lives of these characters, many of them familiar to viewers, gain in intensity as various threads cross to produce an unresolvable knot.
Summary:Sally Wang, the 27-year-old daughter of highly educated (her widowed mother is a Yale professor) immigrant parents, quits her job as an art director in New York City. Her depression leads her to a suicide attempt and admission into a mental hospital, where she begins to come to terms with her memories of sexual abuse by her father (the "Monkey King"). Continuing to struggle with the need to cut herself as a way of feeling alive, Sally begins to re-explore her relationship to the world through her painting and begins shattering well-kept family secrets on her way towards healing.
Harry Potter and the Prisoner of Azkaban is the third of a planned series of seven books (see annotation of Harry Potter and the Sorcerer's Stone for an introductory summary). Harry, forced to suffer another summer with the Dursleys, has just turned thirteen. When Uncle Vernon's sister arrives and proceeds to abuse Harry, he rebels, runs away with his heavy school trunk and is picked up by the Knight Bus, a wizard transportation vehicle. Meanwhile, the nine-member Weasley family, usually short of money, have won a wizard lottery and are using the money to visit the eldest son, Bill, in Egypt.
Sirius Black, whose motorcycle was featured in the first chapter of the first book, has escaped Azkaban and the prison guards known as Dementors. Sirius was imprisoned just after the death of Harry's parents when he was caught at the scene of another horrendous crime. Special precautions for Harry's safety are arranged by Dumbledore and the Ministry of Magic, led by Cornelius Fudge. When Harry meets a Dementor on the train to Hogwarts, he blacks out as he feels a rush of coldness, a complete lack of happiness or future, and relives his worst memories. Remus Lupin, the mysterious, gentle and periodically ill Defense of the Dark Arts Professor, provides the antidote: chocolate.
Thus begins Harry's third year at Hogwarts. Hermione signs up for an especially busy, seemingly impossible, schedule of classes. Ron's old pet rat, Scabbers, takes a turn for the worse, despite Ron's attention and care. The invisibility cloak again proves useful, as does a magical map. Hagrid, cleared of the cloud that had been hanging over him since his school days, is promoted to teacher: Care of Magical Creatures. However, an injury to Draco Malfoy by Buckbeak the hippogriff (a flying bird-horse) during the first class leads to another investigation.
Bizarre characters, such as the doom-predicting Divination teacher, Sibyll Trelawney, exciting Quidditch matches with a new broomstick for Harry, more run-ins with Snape, and a peek at Hogsmeade, an all magic village, round out the story. Ron, Hermione, and Harry's dangerous adventure leads to the exposure of Sirius Black, the truth of his connection to Harry's parents, and new discoveries for Harry about his father. Our heroes also discover who is the servant to Voldemort, the Dark Lord.
Summary:A naked young Tahitian woman standing in a lagoon tries to cover her genitals with a kerchief as she becomes uncomfortably aware of the presence of an ominous-looking clothed spirit figure kneeling behind her. The lush exotic landscape punctuated with phosphorescent foliage, fauna, looming tree, serpentine forms, and the outline of a barely discernible thin hand representing the artist adds to an atmosphere of mystery and malevolence. Below the artist's signature and date in black on the canvas is inscribed in orange the title, "Parau na te Varua ino."
In this collection of new poems Goedicke presents us with a stark, frequently harsh, and uncompromising perspective on the relentless march of love and life toward death. Nature's rhythms--of the sea, the seasons, organic growth and decay--are both metaphor and reality as the poet takes note of changes in her mate and in their relationship against a backdrop of snow, night, natural and man-made disasters, and "lint and cat fur" ("What the Dust Does").
The book is dedicated to "Leonard," "for we who are one body." Many of the poems concern a long, deep, relationship, now become turbulent because of change: "Thirty years . . . now this // after hours of bitter contention / because nothing's right / anymore" ("The Things I May Not Say"). Two people who have been so close now face the inevitable but they are not fading happily into the sunset: "I know you'd mother me / forever, and I you, /but here, at the end of everything / we know // even the kindest / words scrape against each other like seashells" ("What Holds Us Together").
Yet there are times of pleasure and tranquillity: "everything we do, even the egg / sandwiches we eat stick to the ribs / like caviar: / because you make me laugh" ("Old Hands"). "For last night, in your faded photograph album of a voice, / you sang us both to sleep" ("Alma de Casa"). And where there is deterioration, there is also devotion: "The shell around us is cracked / and you're in my arms, shaking. Over the crumbling / excavations beneath us. Where I won't, / I will not drop you" ("The Ground Beneath Us"). "Children are coming to grief, / cars burning in the streets. / In the brightest light of all, / I would like to catch him when he falls" ("The Brightest Light").