Showing 621 - 630 of 664 annotations tagged with the keyword "Loneliness"
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.
This short poem, one of a series entitled "A Catch of Shy Fish," describes an old sick man whose life is "closing in" and who feels only pain ("mind is a little isle") until there enters "an impudence of red," flowers that, for him become a "ripe rebuke," a "burgeoning affluence" that "mocks [him] and "mocks the desert of my bed."
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.
In this memoir Sheed reflects on his experience of three major illnesses: polio; clinical depression, related to alcoholism and sleeping pill addiction; and cancer. He contrasts the incongruous and paradoxical "inner life" of illness, with the often oversimplified prototypical experience represented by AA [Alcoholics Anonymous] literature, various psychiatric orthodoxies, and popular media.
Issues that arise include the tension between medical authority and patient experience, caregivers' and clinicians' projections, friends' and family's misapprehensions, and the surprises, both welcome and horrifying, that occur in the course of treatment and recovery because no illness, mental or physical, follows a textbook format.
The narrative is a wry examination of games patients play as well as a confession, dry and witty but also extraordinarily perceptive, of the failed and false expectations, pretenses, fears, resistances, rage, and qualified pleasures that characterized his personal odysseys through illnesses that have often been simplified and obscured by popular mythmaking.
A woman, Rose, describes her childhood during the depression as she struggled with issues of her own identity and her jealousy toward her younger sister, Sophie, who suffers from cerebral palsy and seizures. Rose watches as Sophie is born, as her parents argue, as Sophie is held closely by their mother during her seizures, and as Sophie is given two birthday parties each year. She fantasizes about how life might be if her sister were dead, and imagines her sister hanging from a rack like the animals at the slaughterhouse. Finally, she discovers that Sophie actually needs her and loves her.
A grown daughter recounts how her mother suddenly left her family for another man and moved away. The author feels alternately puzzled and betrayed by her mother's leaving. With her mother's help, she explores the complex connections between her mother's action and her mother's experience of having a stillborn child many years before.
She describes how each family member reacted to the discovery that the child was stillborn, how the nurses took the baby away and wouldn't let her parents hold him, and how little they actually grieved over or talked about the baby afterward. In her role as protector of her family, shielding everyone else from the pain of the stillbirth, the author's mother lost something central of herself. She left her family in order to begin to find it.
Nineteen year-old Johnny Dart leaves home one night after arguing with his parents--to locate the best friend of his sister. He needs to talk with her as the only other witness to his sister's death, five years since, when she fell over a cliff on a picnic. Haunted by the thought that he might have saved her, Johnny is also convinced his parents and others think it should have been he, rather than his sister, who died.
He shows up drunk at the home of the friend's parents, only to find that she has moved out. In his nighttime wanderings he encounters a disoriented old woman on the streets and follows her home to a dilapidated and disheveled house which, it turns out, belongs to her, though since she suffers from Alzheimer's disease or a related syndrome, has lapsed into extreme disarray and disrepair. He ends up staying to care for her for several days, during which he also locates the old friend.
In caring for the old woman and conversing with the young woman, Johnny manages to come to terms with his own past, the pain of his own losses, and agrees to talk with his parents and a counselor and reorient himself to the present. In the process he learns a great deal about himself, about how he has projected his own fears and guilt, and how caring for another person can release him from crippling obsessions with his own past.
In the past, the father has tried to help the child cope with earache by showing him how the ear works, providing a visual image of the ear's anatomy from the encyclopedia. It didn't help the pain. Now that the father is chronically ill, his adult son tries to help, but cannot (even with an encyclopedia that purports to contain the entire world) produce a visual image, or metaphor, to explain the illness, or "what brought us here." Instead, he gives his father a Walkman, hoping that the music will "help him pass the hours in dialysis."
The son can see his father's blood, circulating in the dialysis machine (just as the father helped the son visualize what was happening in his sore ear), but the son cannot feel (or see, or hear--or, even though he's a poet, find a metaphor to convey) what it is like to be his father. This isolation is ironically emphasized by the son's gift: because of the Walkman, the father falls asleep "to a music I can't hear / And for which there is no metaphor."
Dr. Terry McKechnie works in the emergency room in a Los Angeles hospital in the early 1990’s, and is having an affair with Virginia Lee, the new wife of an old friend of his from medical school. Virginia works with snakes. She is attracted to danger. She falls in love with Terry immediately after deciding to marry the reliable Rick, with his predictable dermatologist’s hours and habits.
Virginia is bitten by a rare snake and drives herself to Terry’s hospital. The drive is terrifyingly described, time seeming to move at two speeds at once, as Virginia sits stuck in traffic trying not to panic, the terse prose capturing her efforts at clarity even as the rapid effects of the venom begin to cloud her thoughts. Because she is allergic to horses, the antivenom, made of horse serum, cannot be given to her, and she begins to bleed. Unfortunately, she also has an extremely rare blood type.
As well as being a doctor, Terry is a "universal donor": his blood can be given to people with most other blood types without danger of rejection. His gift fails him at this point, however: Virginia must be given blood of her own type. One person has such blood: a psychopath on the run from the police whom Terry had previously allowed to escape. The novel’s plot culminates in Terry’s search for and encounter with the convict, in which he persuades him to give his blood (and, necessarily his freedom--he is arrested in the hospital) and Virginia survives.
Summary:The Giant's House is narrated by Peggy Cort, a young librarian in a small Cape Cod town in the early 1950s. She falls in love--and her life becomes inextricably tangled--with James Sweatt, a young boy who suffers from gigantism.