Showing 71 - 80 of 611 annotations tagged with the keyword "Body Self-Image"
This is an anthology of poetry by poets who have disabilities. The book's sections are ordered more or less chronologically, although the editors have identified other groupings as well: "The Disability Poetics Movement," "Lyricism of the Body," and "Towards a New Language of Embodiment." Also included is a well organized preface by editor Jennifer Bartlett and an informative "Short History of American Disability Poetry" by editor Michael Northen. An essay by or about each poet prefaces that poet's work. The book makes no pretense at being comprehensive but offers a large selection of poets with a variety of physical impairments (e.g. cerebral palsy, rheumatoid arthritis, dystonia, blindness, deafness, Parkinson's disease, multiple sclerosis, stroke). It presents important figures who have contributed to current thinking about the disabled body and social and physical constraints imposed on it, as well as poets who do not/did not identify themselves as disabled in their work.
The first section, "Early Voices" presents poets no longer alive who wrote in the mid to late 20th century and rarely forefronted their disability (Larry Eigner, Vassar Miller, Robert Fagan, Josephine Miles-- and Tom Andrews, who DID write about his hemophilia). Their work took place mostly during a time when disability was stigmatized and kept hidden. Michael Davidson's essay on Larry Eigner's work is particularly informative, showing how the poet's severe cerebral palsy, which kept him housebound, pervaded his work although he made no overt reference to his condition.
"The Disability Poetics Movement" highlights poets ("crip poets") who openly celebrate their unusual bodies. These are poets who emerged shortly after passage of the Americans With Disabilities Act in 1992. Some, such as Jim Ferris, Kenny Fries, Petra Kuppers became disability rights advocates and educators in the field of disability studies. Editor Michael Northen speculates that Fries "may be the single most powerful representative of this group" because he rejects both the medical and social models of disability and is "asking instead for a redefinition of beauty and of the way that disability is perceived" (20-21). Other poets in this section are Daniel Simpson, Laura Hershey, Jillian Weise, Kathi Wolfe, and John Lee Clark.
Ten poets contribute to the section, "Lyricism of the Body," most of them unknown to me (Alex Lemon, Laurie Clements Lambeth, Brian Teare, Ona Gritz, Stephen Kuusisto, Sheila Black, Raymond Luczak, Anne Kaier, Hal Sirowitz, Lisa Gill). Their prefatory essays are particularly helpful in providing context for their work. The final section, "Towards a New Language of Embodiment," is more experimental than the rest of the collection. "Rather than explaining an individual story, bodily condition is manifested through the form" (17). Poets are Norma Cole, C. S. Giscombe, Amber DiPietra, Ellen McGrath Smith, Denise Leto, Jennifer Bartlett, Cynthia Hogue, Danielle Pafunda, Rusty Morrison, David Wolach, Kars Dorris, Gretchen E. Henderson, Bernadette Mayer.
Helga Crane is a beautiful young teacher in Naxos, a southern American boarding school for black students. She is half Danish on her mother’s side, half African-American on her father’s side. Her only family is an aunt and uncle in Denmark.
Dr. Anderson, a distinguished black teacher professes love for her, but she feels stifled by him and the vision of their life ahead. She quits her job and flees to New York and the exciting cultural life of Harlem.
She thrives in that environment and men flock to her. There she meets James Vayle whom she likes and the Reverend Pleasant Green whom she does not—but once again, when Vayle proposes permanence, she flees to Copenhagen.
There, she spends an extended visit with her Aunt Katrina and Uncle Poul. At first the Danish couple are startled by her blackness, but they quickly adapt and enjoy the elevated status conveyed by having this intelligent, beautiful black woman in their world. Upon receiving another offer of marriage, Helga grows suspicious of her family’s use of her and flees once again.
She returns to America where she marries the Reverend Pleasant Green, although she doesn’t love him. As babies come in succession, Helga develops severe post-partum depression.
In 1176, King Henry the II of England persuades the physician Adelia Aguilar to accompany his daughter, Princess Joanna, on her long journey from England to marry the King of Sicily. Adelia studied medicine in Salerno, but in the disbelieving, intolerant world of Northern Europe, she must hide her skills. She masquerades as the assistant of her own eunuch assistant, the Arab Mansur. Her task is to protect and preserve the health of the princess. The King convinces her to make the journey by holding Adelia’s own infant daughter as a hostage.
The procession is troubled by a murderer, who could be trying to attack the princess or her doctor. Joanna falls ill, and Adelia diagnoses appendicitis, and then performs an operation to save her life. The question then arises whether or not her future husband will accept a bride with a surgical scar.
As in the other three novels, Adelia also uses her medical skills to solve the murders—a forensic pathologist avant la lettre.
Summary:This short, gripping book describes Taylor's massive stroke, a burst blood vessel in the left side of her brain. Ironically, she was at 37, a neuroanatomist at Harvard, well versed in the anatomy and function of the brain. Her knowledge allowed her to understand from the inside her rapid loss of mental function and, with treatment, her very long (some eight years) recovery to health and, once again, professional activity.
An engaging historical analysis of several aspects of the history of madness and art. It includes chapters on the history of
- the portrayal of mentally disturbed people;
- the idea that creative genius is enhanced by mental illness;
- architecture of psychiatric hospitals;
- art therapy; and
- the use of art as a semiotic tool for diagnosis.
Several case studies of individual artists, such as Richard Dadd or Adolf Wölfli are used to exemplify each theme. Special attention is given to artistic movements such as romanticism and expressionism. It is completed by excellent endnotes, a good bilbiography, and detailed annotated index.
Summary:Perillo's essays offer a lively, variegated view from the wheelchair of a woman with multiple sclerosis who is also a naturalist, an outdoorswoman, a wife, and an award-winning writer. Not all of them focus on her condition, though observations about living with the disease occur in most, and are thematic to some. Most are also laced with wry humor. One comes to see in these sketches from the Pacific Northwest how full and rich a life it is possible to live while also fully acknowledging and even lamenting the loss of mobility. She invokes Thoreau several times, and her work may be easily situated in his tradition of personal, reflective essays on the natural world. For her, the natural world extends to the world of the body, linked as it is with the bodies of all living things.
Summary:In this collection, which is really a poetry memoir or lengthy poetry sequence, the speaker develops her narrative of a tormented childhood and adolescence, psychological breakdowns, and ongoing struggle in a more "normal" present. The poems are labeled only by section, of which there are four, and are separated simply by their spacing on the page. Section 1, "Cuckoo," reveals the origin of the poet's "life as a doll": "After my mother hit the back /of my head with the bat's /sweet spot, light cried / its way out of my body. . . . I was . . . a doll carved out of a dog's bones . . . my life as a doll / was a life of waiting" (4-5). Mother was an abusive alcoholic (there seems to be no father ever on the scene).
Summary:As explained in the succinct yet thorough introduction by co-editor Kimberly Myers, an international conference on the topic of "The Patient" was convened at Bucknell University in Pennsylvania in 2006. This collection of essays, which range from personal experience to scholarly literary critique, results from the conference presentations.
Lucy is a novel named for the female hybrid offspring born of a bonobo mother and human father, a creature called, at various times, a "humanzee" since the bonobo, a great ape found in the Congo in Africa, is occasionally referred to as a pygmy chimpanzee. The result of artificial insemination by her father, Donald Stone, a British anthropologist in the Congo with aims to improve the human species, Lucy is a very human looking 15 year old girl.
The novel begins in medias res when Jenny Lowe, an American primatologist whose camp is near Dr. Stone's, is awakened by the sound of gun fire from nearby insurgents. She goes to Dr. Stone‘s camp, finds the anthropologist and an adult female bonobo lying on the ground, both dead from gun shot wounds. Near the two bodies is a living teen aged girl, Lucy, whom she rescues and manages to spirit back to her home base, Chicago, where Jenny‘s friend and lover, Harry Prendeville, a charismatic surgeon, awaits her. Lucy enrolls in high school, her genetic heritage kept secret from all save Jenny who discovers -- in one of several nods to Mary Shelley's Frankenstein -- Dr. Stone's notebooks.
Lucy meets and becomes best friends with Amanda Mather, a classmate (this relationship is far from clearly a strictly heterosexual one) and becomes the state wrestling champ because of her bonobo-inherited skill, strength and speed. When Lucy contracts a viral disease that bonobos, not humans, acquire and her secret is about to be exposed (Jenny, Amanda and Harry now all know), Lucy does what all 15 year olds would do in 2010 (the book is set in present time) - she outs herself on Facebook. (O tempora, O mores!)
The novel now enters the accelerated phase of denouement with expected and unexpected reactions from TV, the violent right (think Mickey the Gerund in Cast of Shadows in this database), Congress and the public. Without revealing too much plot as a spoiler, suffice it to say that a governmental scheme to abduct Lucy for the purpose of NHP (non-human primate) experimentation becomes a reality with devastating consequences that allow for a thrilling read with its share of tragedy and triumphs and ending with an unusual yet fulfilling conclusion satisfying for most concerned, especially Lucy and those who love her.
This suggestively titled collection of poems provides a lyric record of a physician’s way of seeing. The situations to which the poems bear witness are not only medical, though many are. Some are cityscapes into which are woven surprisingly astute observations of homeless people or hitchhikers or ducks in the park. Some explore the geography of a body where memories are held in “neuron chains.” Some articulate bits of personal history from the point of view of a woman who has spent years in medicine, caring for the elderly, seeing bodies with the double vision of a clinician and a person whose spirituality clearly informs all she sees.
Titles like “ER Alphabet of Hurt” or “Looking for God On the Radio” or “Hippocrates Voyeur” or simply “Scars” may give some sense of the range of focus. Her vision and voice are strongly local; those who know Marin County, north of San Francisco, will recognize the places that become the poet’s personal geography. Those who don’t will still see in these poems a sensibility shaped and refined by the knowledge that comes from deep habitation.