Showing 801 - 810 of 818 annotations tagged with the keyword "Communication"
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.
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.
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."
Summary:The author, a pediatrician by training who has gradually moved into psycho-oncology and training others in relationship centered care, writes about life in this collection of short vignettes and analyses. She blends stories of her own experiences as patient and as woman with those she has gathered from a long history of patient encounters. There is no temporal sequence, but the work is grouped into thematic segments. The author shares selected, carefully garnered and assessed narratives of life events intended to be spiritually healing to those who are ill or who care for the sick.
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:This short prose poem (a single paragraph) concisely tells a powerful story. A composer at an artist's colony believes he has fallen in love with a woman of almost sixty, a Japanese painter. One night, late, at her door, she acknowledges their mutual desire, but warns him that she has had a double mastectomy. He leaves her, apologizing. In the morning he finds that she has left a bowl on his doorstep, filled with dead bees covered by a layer of rose petals.
Showalter identifies clusters of syndromes, or mini-epidemics, which she suggests represent late-twentieth century manifestations of the entity which was called hysteria in nineteenth century western culture. Opening with the history of psychiatry's involvement in hysteria in the time of Charcot and Freud, she traces the replacement of hysteria or conversion reaction by modern hysterical analogues such as: chronic fatigue syndrome, recovered memory, Gulf War syndrome, multiple personality syndrome, satanic ritual abuse, and alien abduction.
In separate chapters she examines each of these entities--how it presents, how it fits into her theory of mass hysteria as a cultural response to the millennium, and how it is being handled by health care professionals. Showalter contends that "Redefining hysteria as a universal human response to emotional conflict is a better course than evading, denying, or projecting its realities." (p. 17)
John Binkerson ("Binx") Bolling is a young man from a "good" New Orleans family who for some years has devoted himself to money, sex, and watching movies. During Mardi Gras, when the novel begins, he wakes up to the vague feeling that something more is needed in his life.
We meet his Aunt Emily, a Southern noblewoman, and his cousin Kate, who is said to be somewhat unstable since her fiance's death some years earlier; she is currently engaged to the virtually invisible Walter. The action also takes us to the bayous, where Binx visits his remarried (Catholic) mother and her family, including his sickly adolescent stepbrother, Lonnie. (Binx's father died in World War II; Binx, himself, has survived service in the Korean Conflict.)
Subsequently, Binx takes a trip to Chicago with Kate; on the train she offers to have sex with him, but he refuses. Binx and Kate must then respond to Lonnie's unexpected death. In the end Binx decides to give up his business as a bond dealer and go to medical school, and he and Kate decide to marry.
A journalistic account of the CIA-funded experiments in "psychic-driving" of Dr. Ewen Cameron at Montreal's Allan Memorial Institute in the 1950's and early 1960's. Cameron investigated "treatment" for various forms of depression, consisting of high-dose electroshock (Page-Russell variant), heavy sedation, and the repetetive playing of patient's or the doctor's recorded voice.
Many patients did not respond; some were destroyed by the technique. Particularly moving is the story of Mary Morrow (Chapter 9), a physician-patient whose career was damaged by her experiences. Cameron held the most prominent positions in professional psychiatry; he died unscathed by his questionable research and in pursuit of yet another goal, a mountain peak.
Summary:In this autobiographical novelization of a seven-year psychoanalysis the protagonist recounts the life story that led to her psychosomatic symptoms, and the medical and psychiatric story that led to her analysis. Her early relationships, particularly with her mother, her life in French Algeria in the 1930's to 1950's, and her adult relationships as wife and mother, are told through the associative processes of psychoanalysis as the protagonist grows into a healthy, fulfilled woman and writer. Cardinal beautifully illustrates the joy and rebirth in finding the words to say it.