Showing 511 - 520 of 650 annotations tagged with the keyword "Loneliness"
Written from prison during the tenth year of a twenty-eight year sentence, "On Living" is a remarkably moving--in fact, uplifting--poem. It is written in three parts. The first part addresses the seriousness of life: "you must live with great seriousness / like a squirrel, for example--" (p.128); later, and more poignantly: "I mean, you must take living so seriously / that even at seventy, for example, you'll plant olive trees-- / and not for your children either," (p.128).
The second part deals with hope and commitment and relates directly to his time in prison. "Let's say we're in prison / and close to fifty, / and we have eighteen more years, say, / before the iron doors will open. / We'll still live with the outside, / with its people and animals, struggle and wind--" (p.129).
The third section deals with the universal, with our grieving for the earth which ". . . will grow cold one day, / not like a block of ice / or a dead cloud even / but like an empty walnut it will roll along / in pitch-black space . . . / You must grieve for this right now / --you have to feel this sorrow now--/ for the world must be loved this much / if you're going to say 'I lived' . . . " (p.129-30).
This is the second anthology from Donley and Buckley derived after many years of teaching "What's Normal?"--a literature and medicine course at Hiram College where they explore the cultural and contextual influences upon the concept of normality. With the first anthology, The Tyranny of the Normal, the editors focused on physical abnormalities (see this database for annotation). In this second anthology, the focus is exclusively on mental and behavioral deviations from societal norms. With this edition, Donley and Buckley present their case that, as with physical abnormalities, there is a similar tyranny of the normal that "dominates those who do not fit within the culture's norms for mental ability, mental health and acceptable behavior (xi)".
The anthology is divided into two parts. Part I is a collection of essays that introduce various clinical and bioethical perspectives on the subject of mental illness. These essays bring philosophic and analytic voices to the topic. Stephen Jay Gould's terrific essay on Carrie Buck and the "eugenic" movement in the United States in the early part of the 20th century illustrates one of the major themes that can be found throughout the anthology.
Oliver Wendell Holmes wrote the majority opinion in the 8-1 Supreme Court decision that sealed Buck's fate. Gould begins his essay reminding his readers of the often referenced Holmes quote, "three generations of imbeciles are enough." He then takes us on a fascinating historical adventure that uncovers a deeper and more complicated drama that led to this unfortunate period in American history, and the tragic incarceration and sterilization of Carrie Buck.
This essay, as with other stories, poems, and drama in the anthology, contemplates the relationship between societal values and mental illness, and illustrates how society through medicine can turn to the myth of "objective" diagnostic labels as a way to compartmentalize and control behavior and imaginations that are "abnormal." D. L. Rosenhan's essay from "On Being Sane in Insane Places" further illustrates the failure of the mental illness label. Irvin Yalom's story from Love's Executioner and Other Tales of Psychotherapy provides an example of what is possible when diagnostic labels are avoided, when health care professionals with power turn with humility, curiosity, and kindness toward others, substantiating that these qualities are far more powerful than statistical notions of "normal."
Part II is a collection of fiction, poetry and drama. Intended as a complement to part I, part II engages the reader in the lived experience of the narrators. It is divided into six sections. Section one considers children and adolescent experience of mental illness. Included are Conrad Aiken's "Silent Snow, Secret Snow," an excerpt from Susanna Kaysen's Girl, Interrupted (see annotation in this database), and an excerpt from Peter Shaffer's Equus (see annotation).
Section two includes stories that capture the world of mental disability and retardation. An excerpt from Of Mice and Men and Eudora Welty's short story Lilly Daw and the Three Ladies are included. Charlotte Perkins Gilman's The Yellow Wallpaper (annotated by Felice Aull; also annotated by Jack Coulehan) is in section three where women's experiences with mental disorders is the theme (these are annotated in this database).
Section four and five focus on men and mental illness. War experience is considered in the works of Toni Morrison and Virginia Woolf. Section six concludes the anthology. Alzheimer's disease and dementia are examined in Robert Davis's My Journey into Alzheimer's Disease, and in the story, "A Wonderful Party" by Jean Wood.
Fourteen-year-old Kelly is torn between being "best friend" to her mother, who, though she is sprightly and lovely, seems to have withdrawn from adult relationships, and pursuing her own friendships and life at school. Her father, a pilot, is gone from home a lot of the time, so she and her mother live a fairly isolated life.
It is not until her mother is suddenly whisked off to the hospital at the end of one of the father's visits that Kelly learns there is something seriously wrong with her. No one, however, will tell her precisely what happened or what's wrong. She is sent to her grandmother's in Florida to wait out her mother's hospitalization, and for a time isn't even allowed to communicate with her mother by phone.
Eventually she learns that her mother is clinically depressed and has been suicidal. In the meantime she learns a great deal about coping with loneliness, uncertainty, and new adult relationships, with a strait-laced grandmother and a senile grandfather as well as a disabled young man, a neighbor in Florida, who takes her seriously and helps her find a new self-assurance in spite of--or perhaps in part because of--her difficult circumstances. Faced with a choice of boarding school or returning to a mother still in gradual recovery, Kelly firmly opts to live with her mother and learn about both the responsibilities and the limits of caring for a parent who needs love but not co-dependency.
Skye Johnson, a high school swimmer, is training for state finals when a new boyfriend distracts her from her single-minded pursuit of athletic championships. As the romance begins to turn abusive, she finds her boyfriend becoming more of a problem in her life than her brother, who has Down's syndrome, and who accompanies her almost everywhere because he needs supervision.
Her divorced, single mother holds down two jobs and can't be home to care for Sunny, the brother, so he has been largely Skye's responsibility since she entered high school. Sunny wants to learn to swim. Skye knows he is teachable, and could be prepared for the Special Olympics, but doesn't want to devote time to training him, so she secretly arranges to give him lessons with her babysitting money.
A serious confrontation with her boyfriend leaves her with an injured hand which prevents her swimming in the state competition, but which, it turns out, allows her to be present when Sunny swims in the Special Olympics. She finds herself deeply proud of him, and able to see again why she loves this brother whom she's regarded for some time largely as a burden.
Twice a day without fail, at dawn and in late afternoon, Nestus Gurley delivers the newspapers. The boy is a given in the narrator's life, inevitable, an almost mythic presence. While in the real world Nestus is simply an energetic lad ("He has four routes and makes a hundred dollars"), in the world of the narrator's imagination, "He delivers to me the Morning Star, the Evening Star."
One morning the boy makes a paper hat that reminds the narrator "of our days and institutions, weaving / Baskets, being bathed, receiving / Electric shocks . . . " Throughout the poem the boy's steps tap an incomplete musical motif, a motif that needs only another note or two to become a tune. But what is the tune? And why is the tune so important? Even when in his grave on the morning of Judgment Day the narrator will recognize that step and say, "'It is Nestus Gurley.'" [81 lines]
This is a collection of portraits in verse of 40 "unfortunate" characters. In most cases using a 16 line sonnet-like form, William Baer creates stark, unsettling miniature narratives of men and women who live at the edge, where "normal" people (like you, dear reader?), when hearing their stories, will turn to their companions and exclaim, "Oh, how unfortunate!"
Take, for example, the "Prosecutor" who has lost faith in justice, or the dying woman in a "Hospital" who remembers the day her young lover walked away, or the flashy chic who get her kicks by making-it in a ditch beside an airport "Runway," or the wounded Newark thug in "Trauma Center" who elopes from the hospital as soon as he can stand.
Baer tells his unfortunates' stories in spare, transparent language, claiming no insight, no closure, no chance of redemption. Yet these poems dignify their sad subjects by insisting that we take them seriously, by crying out, "Attention must be paid!"
This memoir of a clinical psychologist (also a professor of psychology) chronicles her own depression over a period of a year and a half, from early symptoms, through near despair, electroconvulsive therapy, and hospitalization to recovery. The journey is detailed, not only in its treatment of her emotional states, but of her struggle to maintain family and professional life, keep her house and office organized, and attend to a dying friend.
As her bouts of panic and disorientation grow more apparent, first to herself and finally to others, she seeks refuge in spiritual retreats and in conversation with colleagues, ultimately submitting to treatment. She names the emotional "undercurrents" suggested in the book's title with moving precision: panic over sudden disorientation, anxiety about what to keep secret, frustration with her own unreliability, dread of small duties and ordinary appointments, heartache over her faltering efforts to be a good and present mother.
The consent to hospitalization costs a great deal in humility, in risking a controversial treatment, and in letting go of a professional persona she doesn't know whether she'll be able to retrieve. But clearly the book is written by a woman whose clarity is a testimony to regained mental health and exceptional intellectual clarity. It is not a professional record, but an intensely personal memoir of what was both an encounter with serious mental illness and a spiritual journey.
Marina, a fourteen-year-old recently transferred from a mental hospital to a boarding school, can't speak. Her muteness is a reaction to trauma; in a moment of fury at her mother, her father threw photographic acid in the car window and, instead of hitting his wife, hit his daughter's face. Severely scarred, both inside and outside, resentful of her mother and bewildered by her father's pain, anger, and now imprisonment for assault, she records her daily life tentatively in a journal assigned, but not read by, a favorite English teacher at her new school.
The girls in her dorm have been apprised of her problem and treat her mostly with respect, but only one of them is fully able to keep making the moves that open a door to friendship. Despite Marina's silence, even in sessions with the school counselor, she begins to heal as she makes her journal (the text of the story) a safe place, allows herself to be included in the family lives of her teacher and friend, and finally summons the courage to visit her father, with whom she retrieves the language she needs, finding, as the title suggests, she has "so much to tell him."
Gabriel McCloud, 18, has just been killed by driving his truck into a tree while intoxicated. The small town goes into shock. The chapters of the novel are narrated successively by key people in Gabriel's life: his girlfriend; a teacher who saw his potential and gave him extra chances he needed; his embittered and violent father; his two brothers, an uncle who has been estranged from the family for years; the son of the local mortician; a buddy; the sheriff. Each of them goes through a particular kind of shock, grief, and reflection following the loss.
Jennie, Gabriel's girlfriend, pregnant with Gabriel's baby, decides to take herself to the beach and commit suicide. She sits for some time on a rock that will soon be buried by the rising tide, but is eventually spotted and rescued by a man she has feared and despised: Gabriel's father. The various voices that give us vantage points on Gabriel's difficult life and violent death testify also to how important even the life of a somewhat wayward, underachieving, confused teenager can be to a community of people who recognize him, some belatedly, as a gift.
Some interesting and very odd characters (including a few scientists and researchers) inhabit the eleven short stories in this collection. In "Concerning Mold Upon the Skin, Etc.," Anton van Leeuwenhoek creates his first microscope and becomes so absorbed by the invisible worlds revealed to him that he neglects his own family. "Nowhere" is the tale of an old anatomy professor who aspires to spice up the curriculum by obtaining a corpse for his students to study. "Tumbling" recounts the difficult life of a young woman understandably haunted by the possibility that she may inherit Huntington’s chorea from her father and her inspired liberation of over one thousand laboratory mice.
In "Chloroform Jags," a professional midwife self-experiments with chloroform "not to escape time but to dissolve time." Other stories describe the execution of an elephant; the murder of a physician who happens to be an important figure in the French Revolution; a woman with a talent for insomnia who has not slept for six months; a psychoanalyst and his patient; an eighteenth century blind beekeeper; and Dorothea Dix, an early advocate for the humane treatment of the mentally ill.