Showing 561 - 570 of 608 annotations tagged with the keyword "Sexuality"
A 17 year-old boy, Alan, is brought to a psychiatric hospital because he has blinded several horses with a hoof pick. A psychiatrist, Dysart, works to "normalize" the boy, all the while feeling that though he makes the boy 'safe' for society, he is taking away from him his worship and sexual vitality--both of which are missing in the doctor's own personal life. He actually envies Alan the sexual worship he has experienced.
In spite of his own hang-ups, though, the doctor does help the boy work through his obsession, which identifies the horse Equus with God. But the doctor comments that "when Equus leaves--if he leaves at all--it will be with your intestines in his teeth. . . . I'll give him [Alan] the good Normal world . . . and give him Normal places for his ecstasy. . . Passion, you see, can be destroyed by a doctor. It cannot be created."
Allison Shandling is a bright 14-year-old with an autistic twin brother, Adam. She has spent her life being the "good" child, accommodating to her brother's idiosyncratic behavior, learning to weather public curiosity, support her parents, and not cause them further anxiety.
When her parents decide to reconnect with a religious community, she finds that one of the school bullies is the rabbi's son, Harry. He teases her mercilessly about her brother, especially after his father, the rabbi, takes Adam under his wing and tutors him for his bar mitzvah. When Harry is paralyzed from the waist down in a sporting accident he retreats even further into bitterness, but Allison finds herself drawn to him nevertheless.
Against her own "better judgment," she pursues a friendship with Harry, learns that the source of much of his anger lies in the death of his mother and his father's distance, and that the two of them share a sense of being marginalized in families where other critical needs have overshadowed their own very ordinary needs. Eventually friendship blossoms into a first romance as well as inciting both to initiate new conversations with their parents.
Laurence "Tubby" Passmore is a successful scriptwriter for a television sitcom, in his mid-fifties, married and the father of two grown children. He is indecisive and inexplicably depressed, unhappy with himself, his fat body, bald head, wonky knee, and impending impotence. At least, he is confident in his marriage to Sally, an attractive, self-made academic who enjoys sex; on weekly jaunts to London, he maintains a supportive but platonic relationship with the earthy Amy.
Seeking to alleviate his woes, he dabbles in acupuncture and aromatherapy and regularly attends a blind physiotherapist and a woman psychiatrist; the latter counsels him to write a journal. His wife suddenly announces her wish for a divorce and the television network invokes a contractual obligation to make unwelcome demands on his skills. These events shatter his unappreciated but complacent "angst" and deepen his identity crisis.
Laurence scrambles to rediscover himself. He reads the gloomy, Kierkegaard--because he identified with the titles--and he travels to the existentialist's Copenhagen. He pushes the boundaries of his relationship with Amy in a maudlin trip to Tenerife. He befriends a philosophic squatter, called "Grahame" (with an "e" no doubt to distinguish him from Graham Green whose "writing is a form of therapy" is an epigraph to this book). He flies wildly off to Los Angeles hoping to rekindle a one-night stand "manqué." Finally he recalls and tracks the Irish Catholic, Maureen, his first girlfriend from forty years before. Maureen has suffered too--the death of her son and breast cancer; he finds her on the Road to Compostella.
An intern in internal medicine is frustrated by his weekly clinics; he seems unable to understand why most of his patients come to see him, why they seem happy when they leave, and wonders when he is going to have the chance to do "real" medicine, such as ordering tests and making sophisticated diagnoses. One day, he sees an elderly woman who had been worked up over the years for "heart pain" without finding a diagnosis. In the past she had seen other residents for no discernible reasons.
At this visit, the author recognizes that she seems upset, encourages her to talk, realizes that she reminds him of his grandmother. The woman reluctantly admits she has fallen in love with a younger man. The resident is respectful towards her, and recognizes the beautiful woman she had once been. He begins to realize that she has experienced much that he hasn't, and that she has much to teach him about life and about being human.
The physician author is puzzled about what he can do to help a young woman who comes to him for treatment of her chronic abdominal pain. She has had every test, seen every specialist, and has no clear diagnosis. Only on the third visit, which she has initiated, does he discover that she was sexually assaulted at age 14. He is the only person she has told.
He immediately feels out of his element, and asks her to see a psychiatrist. She refuses, and insists he handle her care. He sets up open-ended visits to allow her time to talk, and looks for help in the medical literature and from a psychiatrist colleague.
Over time, as they explore her feelings and experiences, his patient gains self esteem and transforms herself into a confident, beautiful woman, planning on travel, school, and career. After her last visit with him, he realizes, "I had been chosen to receive a gift of trust, and of all the gifts I had ever received, none seemed as precious."
It is the voice of the woman in bed that makes this poem, and she is a tough character as she reveals herself, physically and otherwise. "I won’t work / and I’ve got no cash. / What are you going to do/about it?" she demands in the first few lines. She implies that she is a loose woman and perhaps even comes on to the physician: "Lift the covers / if you want me . . . ." and later, "Corsets / can go to the devil-- / and drawers along with them-- / What do I care!"
The woman shifts subjects rapidly, between poverty and sexuality, hinting that she might be pregnant again, writing off her two sons. At the end, she delivers a proud challenge to the physician who has come to see her in the abandoned house: "Try to help me / if you want trouble / or leave me alone-- / that ends trouble. // The county physician / is a damned fool / and you / can go to hell! // You could have closed the door / when you came in; / do it when you go out. / I’m tired."
The story begins in 1882, when Friedrich Nietzsche's beautiful and mysterious former lover convinces the famous Viennese physician and mentor to Sigmund Freud, Joseph Breuer, to cure Nietzsche of his "despair" so that the world will not be deprived of the "most important philosopher of the next 100 years." Breuer is known throughout Europe for his use of hypnosis and the "talking treatment" that have been successful in the treatment of hysteria.
Since Nietzsche is skeptical of what Breuer can do for him, Breuer offers the challenge that they might help each other. Through subterfuge, Breuer convinces Nietzsche to remain for 1 month in the Lauzon Clinic. Their bargain: Breuer agrees to treat Nietzsche for his chronic migraine headaches, if Nietzsche, the great philosopher, will listen to and cure Breuer of his own despair. What follows is a brilliant tour de force in which the two men engage in daily discussion, bantering, and intrigue, much like a chess game, jockeying for position, as both men are transformed in unpredictable and astonishing ways.
Summary:A woman looks back on how a rape 15 years earlier still affects her life, her relationships with others, and the way she feels about herself. The event itself is recounted piecemeal throughout the story as the narrator describes the dissolution of her relationship with Lenny, whom she was seeing at the time of the rape, and compares her experience to the gang rape of an acquaintance. She compares Lenny with her husband, Dan, and the ways they dealt differently with the event; Lenny was helpless and passive, her husband, strong and protective. The narrator is caught between the desire to strike back and the need to submit to the mercy of others in order to stay alive.
Ruthie is a thirty five year old overweight mother of two married to Ruben. Ever since her marriage, she has experienced pain with intercourse. She feels like an odd contradiction, with too much flesh and too narrow a vaginal opening, able to experience childbirth but not intercourse. She has read books about pain with intercourse, has tried lubrication, like her doctor recommended, but still the pain continues. She cannot imagine painless intercourse without completely leaving her body and wonders if she would ever get it back afterward.
She imagines what her life would be like if intercourse didn't hurt, how she would be fearless, attractive, sexual; how her husband would no longer turn away from her with indifference. As long as sex is painful, her life is concrete, full of duty and care. She imagines that without pain she would transcend this drudgery, even transcend her husband, and enter an ethereal world which centers around her.
Summary:The author recounts the last months of her sister's life as she slowly died of breast cancer in her mid-20's. The narrator and her sister, Cyndy, renegotiate their relationship and family roles throughout the illness. The narrator addresses the issue of living despite the prospect of dying, and of trying not to die while in the midst of attempting to live one's life. The narrator also recognizes the centrality of desire (in its broadest sense) in our lives, and describes our guilt about satiating our desires, the sense of loss from not ever really satiating them, and the inability to satisfy the desires of another.