Showing 791 - 800 of 823 annotations tagged with the keyword "Communication"
This is a story about storytelling. The narrator--a writer--and her aged, ill father are discussing the narrator's style of story writing. The father wants her to write a story that is simple, "Just recognizable people and then write down what happened to them next." The writer doesn't like telling stories that way because "it takes all hope away. Everyone, real or invented, deserves the open destiny of life."
Because she wants to please her father, the writer narrates a one-paragraph tale about a woman and her teenage son, a drug addict. But this is not what the father had in mind at all. "You misunderstood me on purpose . . . You left everything out." The father asks the writer questions, attempting to fill in details of the story that he believes are important. The writer agrees to tell the story again.
The second version is longer, complicated, unlikely, and, like the first version, has an unhappy conclusion, ending, "The End." The father is discouraged and saddened by this version. How could his daughter, the writer, leave the mother in the story in such an abandoned state? As they discuss the ending the father becomes exasperated with his daughter's bantering: "Tragedy! . . . When will you look it in the face?"
Stella is the wife of Max Raphael, the deputy superintendent of a maximum security psychiatric hospital near London (based perhaps on Broadmoor, where the author's father was medical superintendent), and mother of a ten-year-old son. She becomes involved in an obsessive sexual affair with one of the institution's patients, Edgar Stark, a schizophrenic sculptor institutionalized after murdering and decapitating his wife.
Stark uses his affair with Stella to escape, and she runs away to London to join him. After a few passionate but squalid weeks in hiding, Edgar's illness resurfaces, evinced both in the violence he shows to a sculpture he's making of Stella's head, and in his paranoid jealousy. She runs away from him and is captured by the police and returned her to her husband, who has been fired because of his wife's role in the escape of so dangerous an inmate.
The family moves to a remote hospital in North Wales, where Max has a minor position, and Stella becomes severely depressed, to the extent that she stands by helplessly as her son dies in an accidental drowning. As a result, she is institutionalized--she returns to the hospital, not as the superintendent's wife, but as a patient. Edgar has meanwhile been recaptured (in North Wales, seeking out Stella either to take her with him or to kill her), but they never meet again, for Stella commits suicide.
Breast cancer is a constant presence in this collection of poems by Hilda Raz. Part 1 begins with the poet's uncertainty and fear as she sits with her daughter in the oncologist's office. "I'm still me, same me no / matter what he says. Biopsy report shocks me," she writes in "Weathering/boundaries/what is good." After going under the knife, she further reports, "In the past year / I have given up four of the five organs / the body holds to call itself woman." ("For Barbara, Who Brings a Green Stone in the Shape of a Triangle").
Later, in "Breast/fever" she speaks of her new breast, "two months old, gel used in bicycle saddles . . .
/ stays cold under my skin / when the old breast is warm." Several of the poems evoke her daughter Sarah, both as a child and as a capable young woman who responds to her mother's cancer--"she knows whom to call, / where to go, or she'll find out, I'm not to worry . . . . " ("Sarah's Response")
The poet's illness is a route to self-discovery. Hilda Raz reconstitutes herself with insight, pragmatism, and humor. As she writes in "Nuts," "Nuts to beauty. / Bikini, music, then the childbed . . .
/ Nuts to the mirror." At the end of the book, "The fingers of rain are tapping again. / I send out my heart's drum." ("Recovery")
At the age of 21, shortly after moving to Ithaca, New York, to begin a new life with her fiance, the author experienced a stroke that left her aphasic and partially paralyzed. She returned home to Altoona, Pennsylvania, where she underwent months of physical therapy and rehabilitation.
This memoir takes us through the process of self-discovery by which Barbara Newborn learned first to understand and cope with her disabilities and then to overcome them. It recounts her depression and determination, her disappointment and exhilaration. Return to Ithaca ends about nine months after the stroke when the author had indeed returned to Ithaca to begin (once again) a new life.
In language of the street and of the heart, Belle Waring has put together another wonderful (her second) collection of poems (see annotation of Refuge, her first collection). She writes of relationships starting and ending; her work experience as a nurse--the powerful "It Was My First Nursing Job," "From the Diary of a Clinic Nurse, Poland, 1945," and "Twenty-Four Week Preemie, Change of Shift"; and other miraculous everyday events of living with eyes wide open as exemplified in "The Brothers on the Trash Truck and my Near-Death Experience" and "Fever, Mood, and Crows."
This is a collection of 111 poems, all about women who are old. As the editor says in her introduction, it is not a book about becoming old, but about being old, and the book bears the pointed reminder that an old woman is still a woman, as well as being old (vii). The poems are arranged in ten sections, from portraits of old women (usually grandmothers, here) as seen by the young, through explorations of their work and wisdom, their relationships and sexuality, the vivid and sometimes shocking realities of their bodies, their illnesses and weaknesses, institutionalization and nursing homes, and finally, their confrontations with death and the sense of loss in those they leave behind.
The speaker, the "barren woman" of the poem, describes her state as empty. She likens herself to a deserted space, a "museum without statues," at its center a fountain which, rather than issuing life, recycles its water, which "sinks back into itself." She imagines herself as a mother, but recognizes that "nothing can happen." The only one who pays attention is the moon, silently but ineffectually trying to soothe her. (10 lines)
This is a short bittersweet story of a father's (eventually) successful efforts to teach his seven year old son about the "evils" of smoking. The father, a prosperous and recently widowed prosecutor, begins his "lesson" by first trying to explain the nature of property (his son had taken his tobacco); in the voice of "the nursery" he tries to compel his son not to smoke again.
Then, trying to recapture the teachable moment after this first attempt fails, the father reminds himself that the modern teacher must stand on logic in order to help the child form the necessary principles. Learning should be based neither on fear nor on desire for rewards he tells himself--but he fails again.
Finally the father realizes that he must enter his son's world in order for his son to understand him. This he does through an improvised story wherein a young prince "abandons" his aging father through an early death due to smoking. The connection is made and the young son swears to not smoke again. The father then reflects on the power of story in the lives not only of children, but of us all.
This collection of vignettes follows the growth and development of one internist as he reflects on some of the critical experiences that shaped him as physician. The common thread of the work is the celebration of the relationship that can, and perhaps should, be built between the physician and his or her patient in the course of caring: this relationship is the sacred space of the title.
The author accomplishes his self-imposed task of describing this space by presenting situations in his practice life that illustrate the concept. The chronological structure of the collection enables the reader to study the maturation of the author as a self-reflective practitioner over the many decades of his professional life. Many of the stories are very funny; others are wrenching; all are gently told.
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.