Showing 561 - 570 of 591 annotations tagged with the keyword "Individuality"
This short dramatic monologue is in the form of a public lecture by Ivan Ivanovich Nyukhin, the "husband of a wife who keeps a music school and a boarding school for girls." Nyukhin begins by indicating that his wife has insisted that he lecture today on the harmful effects of tobacco, though he himself smokes. He invites those who are not prepared for a dry, scientific lecture to leave, but then keeps postponing the topic while he talks about how forceful and dominant his wife is.
He longs "to take off this vile old frock that I wore to my wedding thirty years ago" and assert himself. Yet, he can't; his wife is waiting in the wings. At the end of the monologue, Nyukhin begs the audience not to "tell" on him: "tell her that the lecture was... that the booby, that is me, behaved with dignity."
John Binkerson ("Binx") Bolling is a young man from a "good" New Orleans family who for some years has devoted himself to money, sex, and watching movies. During Mardi Gras, when the novel begins, he wakes up to the vague feeling that something more is needed in his life.
We meet his Aunt Emily, a Southern noblewoman, and his cousin Kate, who is said to be somewhat unstable since her fiance's death some years earlier; she is currently engaged to the virtually invisible Walter. The action also takes us to the bayous, where Binx visits his remarried (Catholic) mother and her family, including his sickly adolescent stepbrother, Lonnie. (Binx's father died in World War II; Binx, himself, has survived service in the Korean Conflict.)
Subsequently, Binx takes a trip to Chicago with Kate; on the train she offers to have sex with him, but he refuses. Binx and Kate must then respond to Lonnie's unexpected death. In the end Binx decides to give up his business as a bond dealer and go to medical school, and he and Kate decide to marry.
An explorer visits the penal colony, where an officer demonstrates to him the Harrow, an instrument used to inflict capital punishment. The Harrow is an extraordinarily elegant instrument: the condemned man lies face-down on a Bed, while a complex system of needles inscribes the commandment he has broken (e.g. HONOR THY SUPERIORS) on his back. The needles pierce deeper and deeper until the prisoner dies. In the process of dying, however, the condemned man finally understands the nature of justice and his punishment. His face is transfigured, a sight edifying to all those who watch. The officer begins to demonstrate the Harrow on a prisoner condemned to die because he was sleeping on duty.
The machine was conceived and developed by the former Commandant. It soon becomes clear that the explorer does not approve of the death-machine and that he feels morally bound to express this disapproval to the new Commandant, who is already known to have serious questions about using the Harrow as a method of punishment. Suddenly, the officer removes the condemned man from the Bed and takes his place. Before doing so, he adjusts the machine to inscribe "BE JUST." The Harrow begins its grisly work on the officer's back, but malfunctions and goes to pieces--but not before the self-condemned officer has died.
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.
Doctor Richard Diver is a young neurologist already gaining great respect for his work. One day, he visits his friend Franz in Zurich. Franz is treating a young American girl, Nicole Warren, who was sexually abused by her father and has suffered a breakdown. Nicole is attracted to Diver and writes him letters after he leaves the clinic. When she is almost cured, Diver returns to the clinic and decides, rather haphazardly, to marry her. Nicole comes from a wealthy family and the couple begin to travel around Europe.
They settle briefly in a cabin by the French Riviera and aim to live quietly so that Dick can finish his great treatise. Nevertheless, Dick's easy-going, giving nature attracts a band of followers. When Rosemary, a budding American film star visits their town, she too is drawn to him. She tells him she loves him but Dick remains true to Nicole.
Several years pass during which Dick still does not finish his writing and indeed does very little towards that end. Nicole suffers several relapses. When Dick runs into Rosemary again, they have an affair. Nicole also takes a lover and finally leaves Dick who has become increasingly dissolute. He drinks most of the day and does nothing.
Kathleen Hackendorf is the funny, strong heroine of Thea Astley’s Coda, a book built around two eternal questions, "What are we going to do with Mother?" and, from the elderly person’s point of view, "What am I going to do with myself?" Kathleen wants to remain on her own despite her growing awareness of her frailties. But when she begins getting lost and when the government requires her house as right-of-way for a road, Kathleen calls on her children for help.
They, who she says have "the empathy of a piranha" (164), will not take her in; Sham and her husband finally "book" Kathleen into a retirement village called Passing Downs, which Kathleen describes as "fucking awful" (169), where she stays, wreaking havoc at every opportunity, for two nights. We last see her wandering the city, being mugged, and, finally, literally and metaphorically, "taking the ferry to the island."
In this autobiographical novel, Plath's protagonist, Esther Greenwood, sinks into a profound depression during the summer after her third year of college. Esther spends the month of June interning at a ladies' fashion magazine in Manhattan, but despite her initial expectations, is uninterested in the work and increasingly unsure of her own prospects.
Esther grows disenchanted with her traditional-minded boyfriend, Buddy Willard, a medical student who “had won a prize for persuading the most relatives of dead people to have their dead ones cut up, whether they needed it or not . . . . ” Returning home to a New England suburb, Esther also discovers that she's been rejected from a Harvard summer school fiction course. Her relationship with her mother is painfully strained.
Suddenly, Esther finds herself unable to sleep or read or concentrate. She undergoes a few unsuccessful sessions with a psychiatrist, Dr. Gordon, as well as terrifying electroshock therapy. She becomes increasingly depressed, thinks obsessively about suicide, then attempts to kill herself by crawling into the cellar and taking a bottle of sleeping pills: "red and blue lights began to flash before my eyes. The bottle slid from my fingers and I lay down." Esther vomits, however, and so, does not die. She is taken to a city hospital and then, through the financial intervention of a benefactor, to a private psychiatric institution.
There, Esther begins gradually to recover. She enjoys the pleasant country-club surroundings and develops a closeness with her analytically-oriented psychiatrist, Dr. Nolan. Esther also undergoes a more successful regimen of shock therapy, after which she feels the "bell jar" of depression lifting.
The stigma of attempted suicide and hospitalization seems to free Esther to behave less traditionally; defiantly, she loses her virginity to a man she's met on the steps of Harvard's Widener Library. At the novel's end, Esther is preparing to leave the psychiatric hospital and is describing herself, optimistically, as transformed.
Narrated in the style of an "advice" manual, this is the chronicle of a woman who undergoes a hysterectomy and removal of her ovaries. The tone is sardonic. The story begins with the office visit in which the doctor delivers the news and reassures her that she is too "intelligent and sophisticated" to associate her womanhood with her reproductive organs. The physician attempts to persuade the narrator to have her ovaries removed--preventive medicine against the possibility of ovarian cancer--and she finally agrees while groggy from pre-operative anaesthesia. Nothing has prepared her for the emotional and physical lability she experiences after surgery. Even her sexual relationship with her husband is changed.
As she returns for post-operative check-ups, she becomes increasingly conscious of the indignities of the office visit and physical examination: "it strikes [her] that this maximum-efficiency set-up [three cubicles with naked, waiting women] might serve equally well for a brothel and perhaps already does." She feels that she has made a terrible mistake in allowing the doctor to have talked her into anything and that as a male, "there is nothing he can tell you about how you feel, for the simple reason that he does not know."
Seventeen year-old Phyllis Halliday lives with her parents near the maximum security penitentiary in Kingston, Canada. In the year 1919-20, she establishes a forbidden, epistolic relationship with convict Joseph Cleroux, who is serving a sentence for theft and extortion. Messages, money, and small gifts of tobacco, chocolate, and a ring, are concealed in the quarry next to her home where the convicts are sent to work. Influenced by the newly released film with Mary Pickford, she dubs her new friend "Daddy Long Legs," and herself, "Peggy."
Both Phyllis and Joe fear being caught, and they suffer from parallel illnesses. As she falls in love with the man whom she has never met, she neglects her studies, hoping that he will come for her when he is discharged. However, on that day, he is immediately put on the first train out of town. His letters dwindle and cease, but Phyllis continues to wait and hope.
The setting is Germany in the late 1920s. Rosalie, the central character, is a "sociable," cheerful 50 year old widow who lives with her adult unmarried daughter and her adolescent son. Her manner is youthful but "her health had been affected by certain critical organic phenomena of her time of life." Rosalie is keenly aware of all that menopause implies: the loss of sexual allure and of a (biologic) purpose in life. She feels "superannuated."
Along comes a young man, well-built, who is the American-born tutor for her son. She is overwhelmed by physical attraction for him, becoming infatuated, much to the disapproval of her repressed, cerebral daughter. She feels young and attractive once more, believing that her heightened state of sensuality has resulted in the resumption of what appears to be menstrual bleeding.
Planning to declare her love to the tutor, Rosalie arranges a family excursion to the Rhine castle where the black swans swim. In the decaying alcoves of the castle, she does so; the pair will rendezvous that night. The rendezvous never takes place; Rosalie has hemorrhaged. She is found to have a large, metastatic uterine tumor.