Showing 691 - 700 of 742 annotations tagged with the keyword "Grief"
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 retrospective and reflective review of the last weeks in the life of the author's aging mother. Threaded throughout the chronicle of the progressive downhill course of the patient dying of cancer are flashbacks to the earlier relationships among the author, her sister, and their mother. The course of the illness enables the reader to view many of the common problems that inform the doctor-patient, nurse-patient, and parent-child relationship. The narrator, who is an accomplished writer, creates vivid and timely images of the hospital as experienced by the lay person.
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.
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.
The narrator, now a grown man, relates the story of his brother Del's troubled life and early death. The real story, however, concerns the narrator himself, as he reflects on his relationship with Del, his father's behavior toward both of them, and on the possibility that he (the narrator) played a role in Del's death.
When the narrator was fourteen, older brother Del--drunk at the time--was struck and killed by a train as he walked along the tracks. But the central event in the story is the narrator's betrayal of Del. Although Del had saved him from falling off a grain elevator roof, the narrator had falsely blamed Del for the near-fatal accident, out of fear of the father's fury, and because "After years of being on the receiving end, it wasn't in my nature to see Del as someone who could be wronged . . . ." [p. 57]
"My father had good reason to believe this lie . . . . " [p. 55] The incident occurred shortly after Del had been released from a juvenile detention facility--detained there for trying to strangle the narrator and threatening their father with a shotgun.
The narrator (later) finds in Del's notebook an essay revealing Del's intention to reform. But with the passage of time after the grain elevator episode, Del reverts to delinquent behavior; a year later he is dead. The narrator never reveals to his father the truth and the family never discusses Del's death.
At times, over the years, as the narrator searches for meaning and closure he believes he can "take all the loose ends of my life and fit them together perfectly . . . where all the details add up . . . ." [p. 68] In the end, however, we are left wondering whether this is possible--for the narrator--or for anyone.
Summary:In this collection, sixteen writers (including the editor, in her introduction) recount the deaths of one or both of their parents. They explore a wide range of questions: about the relationship between parents and their children, about the inevitability of the loss of that relationship (if it is lost in death, for, as the editor asks, "is the death of a parent really the end of the relationship?" [p. 2]), and about the conflicts that arise between the necessary separation that comes with adulthood and the complex ongoing attachments which in these stories enrich, haunt, inform and in many ways determine the lives of the tellers.
This first novel is written in English by a native Indian who makes her home in India. It is the tale of Esthappen (Estha for short) and his fraternal twin sister, Rahel, and their divorced mother, Ammu, who live in the south Indian state of Kerala. Ammu, a Syrian Christian, has had no choice but to return to her parental home, following her divorce from the Hindu man she had married--the father of Estha and Rahel.
The story centers on events surrounding the visit and drowning death of the twins' half-English cousin, a nine year old girl named Sophie Mol. The visit overlaps with a love affair between Ammu and the family's carpenter, Velutha, a member of the Untouchable caste--"The God of Loss / The God of Small Things." (p. 274)
Told from the children's perspective, the novel moves backward from present-day India to the fateful drowning that took place twenty-three years earlier, in 1969. The consequences of these intertwined events--the drowning and the forbidden love affair--are dire. Estha at some point thereafter stops speaking; Ammu is banished from her home, dying miserably and alone at age 31; Rahel is expelled from school, drifts, marries an American, whom she later leaves. The narrative begins and ends as Rahel returns to her family home in India and to Estha, where there is some hope that their love for each other and memories recollected from a distance will heal their deep wounds.
This thoroughly researched book helps us understand John Keats's life and work in terms of his medical training. Goellnicht argues that, contrary to some critics' view that Keats was "anti-scientific" or "anti-intellectual," Keats incorporated much of the knowledge gained from his six years of medical training into his poetry.
The book begins with a chapter of biographical information about Keats, emphasizing the nature of medical training in the early nineteenth century, but includes Keats's self-diagnosis of tuberculosis. The heart of the book consists of four chapters, organized by scientific topic, which relate the specifics of Keats' s medical training to his writing: Chemistry, Botany, Anatomy and Physiology, and Pathology and Medicine.
Excerpts of Keats' poetic and epistolary writing are examined in each of these chapters in light of Keats' scientific and medical knowledge. For instance, in the chapter on Botany, the uses of specific botanical species in his writing are examined in terms of what was known of materia medica (see annotation for Ode on Melancholy. Furthermore, the author explores Keats's interest in plants and trees as metaphors for life, such as his interest in "the flower as a vital, but passive, being that exists in a state akin to negative capability."
The author concludes the book with a summary statement about each of the chapters (e.g., " . . . from pathology he adopted the approach of viewing aspects of life, in particular love and poetic creativity, in terms of morbid and healthy states . . . ") and also the caveat that the book is not meant to in any way diminish other profound influences on Keats, such as his interactions with other Romantic poets. Goellnicht notes, however, that Keats himself united the worlds of medicine and poetry in his poem, "The Fall of Hyperion," in which he describes the poet as a physician.
Novelist Isabel Allende's daughter, Paula, died after entering into a coma following an acute attack of a porphyria disease. Allende was at her daughter's side in a hospital in Spain, where Paula was living with her husband, and later in Allende's home in California, where Paula spent the last months of her life.
When Paula first lost consciousness, Allende began writing for her an account of her illness, which soon grew into a memoir of Allende's own life: "Listen, Paula, I am going tell you a story, so that when you wake up you will not feel so lost" (p. 3), Allende begins. As Allende tells of her childhood, political and feminist awakenings, and her growth as a writer, she also watches Paula sink deeper and deeper into coma. She remains insistent, however, that Paula will recover, works in secret with a sympathetic physician to wean Paula from the respirator that breathes for her, then flies her back to California for rehabilitation.
In the end, though, she faces the reality that Paula will not recover, and, as she finishes telling Paula the story of her own life, she discovers that she has found the strength to let Paula go. Paula dies in a sunny room in Allende's house, surrounded by family and friends.
In 1831 Edinburgh, Cabman John Gray (Boris Karloff) delivers a paralyzed little girl and her mother to the office of Dr. Wolfe "Toddy" MacFarlane (Henry Daniell). A body snatcher by night, Gray has a special hold over the doctor, who has lost his clinical nerve and hides in the teaching of anatomy. The earnest medical student, Donald Fettes (Russell Wade), is on the verge of abandoning medicine, but MacFarlane notices his good bedside skills with the little girl, makes him his special assistant, and initiates him into the business of grave-robbing. His wife (Edith Atwater) is opposed to this action, complaining that the student will be "ruined."
Fettes is unaware that Gray and MacFarlane narrowly missed conviction for murder in the Burke and Hare affair of 1823. Obsessed with helping the child, Fettes begs Gray to find a subject on which they can practice spinal surgery. Gray complies by "burke-ing" (murdering) a well-known street singer. MacFarlane forces Fettes to remain silent and they begin their research, but they are overheard by the servant, Joseph (Bela Lugosi), who then tries to blackmail Gray only to be "burked" himself.
The child's operation does not supply immediate results and in a fit of frustration MacFarlane murders Gray as he cries: "you'll never be rid of me." Buoyed up by the news that the child has finally begun to walk and mostly to prove to himself that he does not need Gray, MacFarlane robs a fresh grave.
On the return journey from the cemetery in a driving night rain, MacFarlane is tormented by Gray's last words; the elderly woman's corpse changes into the partially animate body of Gray. The doctor loses control, his horse breaks loose, and the carriage plunges down a bank where Fettes finds the doctor dead beside the woman's corpse.