Showing 521 - 530 of 614 annotations tagged with the keyword "Body Self-Image"
Julia Sweeney performs on film the dramatic monologue that she wrote and performed "live" on stage. The period of her life on which she focuses are the nine months of her brother's dying, when he and her parents moved into her home--an idyllic bungalow that she had set up for herself, following her recent divorce. Instead of having the opportunity to enjoy the freedom of being single again, she is thrust into the thicket of family relationships, the sadness of her brother's poor health, and the demands made by his treatment for lymphoma.
Her parents, she says, have always been for her a "source of comedy, or a reason to be in therapy." These are the resources Sweeney is able to tap as she comments with humor and insight on living like a child in her own home, as her mother takes over the household and bickers with her father, who is drinking too much. But even as she jokes about the clash in lifestyles between herself and her parents (after all, she hasn't lived with them for 16 years), she weaves into the narrative the nature of life with her brother, whom she accompanies for his daily radiation treatments and whom she ministers to as he undergoes chemotherapy.
While not minimizing the seriousness of her brother's illness, she (as well as he) can find the surreal humor in their medical encounters. Thus Julia Sweeney describes how, when scar tissue prevents further injection into his spinal fluid and the doctors recommend a brain "shunt" for that purpose, assuring them that other patients "love their shunts," brother Mike not only agrees to the procedure, but adopts the slogan, "I love my shunt" for every conceivable situation.
The surreal becomes the real when Julia learns that she too has cancer--a rare form of cervical cancer that will require a hysterectomy. Even as she describes her shock and horror at this new blow, Sweeney takes comfort in Mike's sense of humor: he accuses her of getting even with him for taking "the cancer spotlight." Her narration of picking up her own pathology slides and of making the decision not to have her ova ("eggs") harvested and fertilized are both funny and poignant.
Summary:The nurse reflects on the men in the room with "B" for "blood hazard" on their door. They are too weak to make love, but they still take care of one another: "as they press cool cloths to foreheads, / pass tissues for sticky green phlegm." Being only human, when she enters their room and they cough, she confesses that "something inside me stiffens." Yet she sees them as "half a butterfly on gray cement . . . . " She cares and she wants them to know that she cares, these men who "are migrating back to the cocoon, / the place where brown masks / protect the unbeautiful.
In my dreams, now, in my re-imaginings, I leap away as easily as a deer, and with as little hesitation. My spandex-covered legs scissor the ditch, and my feet ride the ground instinctively. My brown hair sways as I dart off into the forest . . . In real life, I got into the truck. (p.25)
A young woman retells the story of her rape--to herself, to the reader, and to a therapist who possesses "no startling answers--just a quiet ability to receive and transmute pain." The art of transcending pain through communication is at the heart of this story. The narrator survives by talking to her rapist and challenging his human core, by revealing everything to caregivers, by allowing herself to replay and dissect the details of this trauma.
The multiple plots of Our Mutual Friend, Dickens's last complete novel, twine around the miser John Harmon's legacy of profitable heaps of refuse ("dust"). Harmon dies and leaves the dustheap operation to his estranged son John, on the condition that he marry Bella Wilfer, a young woman unknown to him. When a body found in the Thames is believed to be the younger Harmon, travelling home to receive his inheritance, the dustheaps descend instead to Harmon's servant Noddy Boffin ("The Golden Dustman").
Boffin and his wife respond to their new status by hiring Silas Wegg, a "literary man with a wooden leg" to teach Boffin to read; arranging to adopt an orphaned toddler from his poor great-grandmother; and bringing the socially ambitious Bella Wilfer into their home, where she is watched and evaluated by John Rokesmith, a mysterious young man employed as Boffin's secretary.
Rokesmith is actually John Harmon, who has survived betrayal and attempted murder and is living incognito so that he can observe Bella. Boffin's negative transformation by his wealth, Bella's moral awakening as she witnesses the changes wealth produces in Boffin and in herself, and the developing love relationship between Rokesmith and Bella form one key sub-plot.
Another is the romance between gentlemanly idler Eugene Wrayburn and Lizzie Hexam, the daughter of the waterman who finds the drowned body. Class differences and the obsessive love and jealousy of schoolmaster Bradley Headstone threaten their relationship, but they are finally married with the help of the crippled dolls' dressmaker Jenny Wren. The smaller plots that interweave these sensation/romance narratives comment on the hypocrisy of fashionable life ("Podsnappery") and the destruction of the family lives of both rich and poor by an industrialized, materialistic society.
In this poignant poetic rendition of images presented to the narrator as she watches one of her body fluids ooze into an external receptacle, the reader is treated to a vivid array of symbols brought to the poet's imagination. The fluid is lymph, collected into a "little plastic pouch / hung on my side like a monkey." The poem is made up of run-on three line stanzas, flowing like the fluid--from color images, to visions of the sea, to associations with the aroma of fruit.
As the poem progresses, the narrator shifts from the reality of what it means to wear the collection device and empty and measure its contents, to the metaphors of fluid: the narrator is submerged, "I speak from inside / an aquarium," contemplates the metaphysics of the fluid milieu of the human body, "Who knows what's going on / beneath the skin. . ." And yet, the poet-narrator concludes, for their apparent significance, once the body fluids are spilled, the "gates opened," they become irrelevant as they dry into "sticky specks."
Most of the thirteen stories in this collection portray interactions among pension guests in a German spa town; a few represent the lives of the town's permanent residents. The minor health problems (mostly digestive ailments, or unspecified "internal complaints") of the guests are not the crux of the plot but rather what gives it its texture. Talk about eating, "internal complaints," sexuality, body image, and pregnancy is the vehicle through which people try to relate.
Most of the stories are about failed communications: between men and women, for example, or between German and English people. Several stories are narrated in the first person by a young Englishwoman whose bodily and marital status (ill? pregnant? married or not?) are pointedly ambiguous.
Two stories represent childbirth from "outsider" perspectives. In "At Lehman's," a virginal serving girl sees her mistress's pregnancy as an "ugly, ugly, ugly" state; later, her sexual explorations with a young man are interrupted by her mistress's screams in labor. In "A Birthday," a man waiting for his wife to give birth focuses on his own suffering rather than hers. "The Child-Who-Was-Tired" follows a child-servant through a day of repeated abuses to body and spirit that culminates in infanticide.
This is the third novel in Pat Barker's trilogy about a group of shell shocked soldiers in World War I who are treated by Dr. William Rivers at Craiglockhart War Hospital. The protagonists include historical characters like Dr. Rivers (1864-1922), an eminent psychiatrist and anthropologist, and the poets, Siegfried Sassoon (1886-1967) and Wilfred Owen (1893-1918), as well as fictional creations, like Lieutenant Billy Prior, a working class man elevated to the position of British officer.
As The Ghost Road begins, Prior has been cured of shell shock and is preparing to return to the front in France. Rivers takes care of his patients and his invalid sister, amid memories of his experience ten years earlier on an anthropological expedition to Melanesia (Eddystone Island). He befriended Nijiru, the local priest-healer who took Rivers on his rounds to see sick villagers and also to the island's sacred Place of the Skulls.
Rivers entertains very un-British thoughts about the morality of these headhunting people, and about the power of symbolic healing. As these thoughts intrude upon his consciousness, Rivers is himself in the process of curing by suggestion a soldier with hysterical paralysis. Meanwhile, Billy Prior returns to the front. It is the autumn of 1918 and the last inhuman spasms of the war are in progress. In a futile battle that takes place a few days before the Armistice, Billy and his friend Wilfred Owen are killed.
Summary:In rhyming couplets, the author describes his loathing for his body--his "fleshy clothes" and his "epidermal dress"--and describes wanting to dispense with "the rags of my anatomy" to become pure sense or spirit. The difficulty, of course, is imagining oneself without a body, so that Roethke is forced to close with his ideal of being "a most / incarnadine and carnal ghost."
In July of 1986, author Andre Dubus was assisting some stranded highway motorists when he was struck by a car. After two painful months of hospitalization, one leg had to be amputated at the knee; the other leg, damaged and immobilized in a cast for many months, became virtually useless, but still painful. Dubus was forced to "accept life in a wheelchair." (106)
In meditating on events and people in his life before and after the accident, Dubus leads us to the interior space of his suffering, fear, moodiness, stoicism, and religious faith. Like the Hemingway character he describes in "A Hemingway Story," he has both gotten over and not gotten over the consequences of his accident.
"Sacraments" interweaves the receiving of religious sacraments with the concentration, care, and love associated with making sandwiches for his two young daughters, the emotional pain of carrying on a love relationship by telephone because of his limited mobility, the received sacraments of learning how to drive his specially equipped car, and of getting a bargain from a swimming pool contractor--"the money itself was sacramental: my being alive to receive it and give it for good work." (95) Concluding with the recollection of his father's death; Dubus notes that "I had not lived enough and lost enough" to recognize the grace that accompanied past pain.
Pain and grace continue to compete for his attention: "The memory of having legs that held me upright at this counter and the image of simply turning from the counter and stepping to the drawer are the demons I must keep at bay . . . So I must try to know the spiritual essence of what I am doing." (89) Similarly, mourning--for what he can no longer do-- and gratitude--for what he once was able to do-- go hand in hand as Dubus remembers the joy of running for miles in the countryside (" A Country Road Song").
The body's memory and the losses suffered figure importantly also in "Liv UIlman in Spring." In this powerful piece, Dubus describes his meeting with the actress, how he was moved to tell her "everything," how, bent low, "her eyes looking at mine" she said, 'You cannot compensate.' " (130) For her honesty and understanding Dubus was enormously grateful.
"Witness" relates the uncanny experience of meeting a woman who had witnessed his accident. Wonderment, fear, depression, inspiration, and writing about this incident were the result. As always, Dubus wrote in order to be led to some further understanding. The essay ends, "Today the light came: I'm here."
Although the Creation of Adam has been portrayed many times in the history of Western art, no other image is as enduring as Michelangelo’s fresco. Adam lays back on a barren terrain, a small piece of the newly created earth. His languid pose belies his apparent physical strength. Based on classical Greek and Roman prototypes, Adam is the ideal human male with his rippling muscles and elegant contours.
However, at this particular moment, Adam is not complete. He extends his left hand out to meet the finger of God. God hovers in the air, surrounded by angels and a billowing cloak-like form. Adam is clearly made in God’s image, as seen in God’s muscular form. God stretches out with his right hand toward Adam; He looks intently and directly at Adam, who returns the gaze with longing.
As God’s outstretched finger almost meets Adam’s more passive finger, we are poised on the brink of creation. Adam is physically alive, but here God is about to endow Adam with what makes human beings truly alive: the spirit, the soul, the intellect. All of man’s potential, physical and spiritual, is contained in this one timeless moment.