Showing 91 - 100 of 324 annotations tagged with the keyword "Marital Discord"
Summary:The exquisite young artist, Angélique (Tautou) sends a rose to her lover, the cardiologist Loic Le Garrec (Le Bihan). She is planning a future with him; the only problem is that he is married. But he has promised to leave his wife. Angélique is little troubled that the couple are expecting a baby and when the pregnancy is lost following an accident, she believes the day will be soon.
This memoir chronicles the pre-adolescent and adolescent years of the author, the son of an alcoholic, abusive mathematics professor father and a psychotic Anne Sexton-wannabe confessional poet mother. The only family member who does not abuse the boy in any way is estranged--an older brother with Asperger’s syndrome. Meanwhile, the amount of trauma to which young Burroughs is subjected boggles the mind. Just when one thinks it couldn’t get any worse, it does.
Burroughs, who loves bright, shiny, orderly things, also likes doctors--paragons of cleanliness, virtue and wealth. Unfortunately, his mother’s psychiatrist, Dr. Finch, described as a charismatic Santa Claus-look-alike, is unethical, bizarre and squalid. As Mrs. Burroughs becomes more and more dependent on Finch, she allows her son to be adopted into the crazy Finch household.
This family includes wife Agnes, who copes with her husband’s infidelity by sweeping madly; son Jeff, daughters Kate, Anne, Vickie, Hope and Natalie; grandson Poo; and adopted son, Neil Bookman, who is twenty years older than Burroughs and homosexual. When Burroughs is thirteen, and has told Bookman that he, too, is gay, Bookman forces the boy to have oral sex. They become lovers.
The Finches, meanwhile, exhibit their quirks and weird tendencies in multiple ways. "Bible-dipping" is popular to read the future, as is prophesying by examining Dr. Finch’s turds. A patient with agoraphobia, Joranne, lives in one of the rooms--in fact, she has not left the room in two years. Young Burroughs is allowed to smoke and drink. When Burroughs says he doesn’t want to return to school, Dr. Finch facilitates this desire by giving Burroughs alcohol and pills to fake a suicide gesture, then hospitalizes the boy.
Yet Burroughs manages to befriend a couple of the Finch daughters, and to survive his childhood. The book closes with his departure for New York City and with an epilogue outlining various people’s outcomes. Finch lost his license due to insurance fraud.
Summary:The famed surgeon Douglas Stone flaunts his notorious affair with Lady Sannox, although his professional reputation begins to suffer. One night a mysterious Turk asks him to attend his wife, who has cut her lip on a poisoned dagger. The Turk insists that amputation offers the only hope of recovery. Anxious to pocket the proffered gold, and impatient to get to his mistress, Stone dismisses his professional misgivings. He excises the lower lip of the veiled, drugged woman--only to find that he was tricked into disfiguring Lady Sannox herself. Lord Sannox (disguised as the "Turk") thus gains his revenge, with his wife morally chastised (and forever after in seclusion), and Stone’s "great brain [thenceforth] about as valuable as a cap full of porridge."
Born in Vienna, Alma Rosé (1906-1944) was a gifted violinist with an illustrious concert career. Her mother was the sister of composer, Gustav Mahler, and her famous father, Arnold, conducted orchestras. All the family members were non-observant Jews. Alma was talented, beautiful, audacious, and arrogant. After an unhappy early marriage to Czech violinist Vása Príhoda, she established a remarkable orchestra for women that toured Europe.
As the German Third Reich consolidated its power, her only brother, Alfred, fled to the USA. She managed to bring their widowed father to England, but displaced musicians crowded London making work difficult to find. Alma left her father and returned to the continent, living quietly as a boarder in Holland and giving house concerts when and where she could. She took lovers.
Despite the urging of her family and friends, she kept deferring a return to safety in England. In early 1943, she was arrested and transported to Drancy near Paris, thence to Auschwitz six months later. Initially sent to a barrack for sterilization research, she revealed her musical brilliance and was removed to marginally better accommodations and allowed to assemble an orchestra of women players.
The hungry musicians were granted precarious privileges, but Alma became obsessed with their progress and insisted on a grueling schedule of rehearsal and perfection. Some said that she believed that survival depended on the quality of their playing; others recognized that the music, like a drug, took her out of the horror of her surroundings.
In April 1944, she died suddenly of an acute illness thought to have been caused by accidental food poisoning. In a bizarre and possibly unique act of veneration for Auschwitz, her body was laid "in state" before it was burned. Most members of her camp orchestra survived the war.
Summary:This remarkable collection of short writings, introduced by renowned poet Naomi Shihab Nye, who visited the Sutterwriters (of Sutter Hospital in Sacramento, California) to offer a workshop, provides a broad, compassionate, imaginative window into the life inside and around an urban hospital. Patients, staff, and all interested in healing through writing are invited to come and participate-with an accent on the latter: no one is invited who isn't willing to write.
This novel of a commercial fisherman's family centers on the son, Neil Kruger, as he struggles to survive on a life raft after a comber, a huge wave, sinks his boat. The book combines his memories of growing up at Half Moon Bay south of San Francisco--the harsh lessons of the sea, his laconic father Ernie, and a disintegrating family--with the story of the illegal activities that led to this last run and his efforts to live.
Death is ever-present for fishermen. Throughout the book, the intimate killing of fish caught one by one is juxtaposed with the constant threat of human loss due to wind, storm, fog, rock, cold and waves. It is a hard-scrabble existence, as over-fishing, pollution, and price control by a few influential merchants combine to depress the fishing business.
As a boy, Neil is told by his mother not to become a fisherman. But then it is she who commands him to join his father one night. This conflict of loyalties, to the land and the sea, to his mother and his father, to religion with its hope of divine intervention and nature with its insensate brutality, cause a tension in Neil that leads him to reflect on his roles as dutiful son, eldest brother and future fisherman.
Neil's memories contain many traumatic events: the rescue of survivors from a hospital ship sunk in a collision with a tanker, the immigration tales of the tightly knit group of Half Moon Bay fishermen, the attempted rescue of one of these men during a storm, and the misadventure during a fishing escapade with his friends, including a wheelchair bound boy with polio. In addition, Neil recalls his father's worsening debility and subsequent post-operative and post-anesthetic problems. By the end of the book, the time frame of Neil's memories converges with his current crisis and time itself becomes as vast and unknowable as the sea.
Chicago architect Stourley Kracklite (Brian Dennehy) and his much younger, beautiful wife, Louisa (Chloe Webb), arrive in Italy to work for a year preparing an exhibition on his hero, the post-revolutionary French architect, Etienne-Louis Boullée (d. 1799). They make love as the train enters Italy; however, he scarcely looks at his wife again. On the evening of his welcoming dinner--set in the piazza in front of the Pantheon--Kracklite is wracked by the first of the endless, excruciating pains in his belly.
Louisa is pregnant, but in boredom and frustration, she takes an Italian lover, Caspasian (Lambert Wilson). The dashing, young architect has designs on the American's exhibition as well as on his wife; his photographer sister, Flavia, shares the intrigue. Kracklite entertains the hypothesis that his unfaithful wife is trying to poison him. A doctor tells him that the sinister pains are due to his lifestyle, but he does not believe this diagnosis and drifts into a subdued paranoia with delusions of persecution and of grandeur.
Obsessed with the shapes and contents--the architecture and the anatomy--of bellies in sculpture, painting, and photography, Kracklite photocopies ever larger and larger images which he "maps" on to his own prodigious abdomen. He writes postcards to Boulleé pouring out his fears. He identifies with Roman emperors, Christ, and Isaac Newton, to whom Boullée designed a never-constructed, hemispheric cenotaph, the belly-like model of which appears often, recapitulating Kracklite's obsession and Louisa's pregnancy.
After he learns he has cancer, he ends his life by falling backward in a Christ-like posture through a window during the opening ceremony of his Boullée project. At that same moment, his wife gives birth to their child, having cut the ribbon/cord to open the hemispherical exhibition.
George Stewart had always loved his best friend's wife, Catherine. After her doctor husband, Jerome Martel, is presumed to have died in a Nazi prison camp, George and Catherine marry, respectful of Martel's memory and mindful of her chronic illness. The central crisis of the story, which is introduced in the first chapter, is the surprising return of Martel a decade after his death.
Martel still burns with the passion for social justice that took him to war in Europe. The long story of their lives is narrated by George through a series of flashbacks and reminiscences, in which Catherine's illness is ever present.
In 1921, the twenty-four year-old Scottish medical graduate, Andrew Manson, takes up an assistant’s position in a small Welsh mining town. He is idealistic, but he quickly learns that his training is inadequate and that his hemiplegic employer will never return to practice. Manson must do all the work for a pittance and bad food. He befriends another assistant, the surgeon Phillip Denny, whose fatal flaw is devotion to drink. Together they solve the town’s problem with typhoid by blowing up the sewer.
Manson’s escape comes in a new job in a larger town and marriage to the equally idealistic Christine. She encourages him to continue his studies and to conduct research on the relationship between dust inhalation and tuberculosis. The results include higher degrees and international recognition, but they also bring about the wrath of the town’s antivivisectionists. To add to the gloom, Christine looses a much wanted pregnancy and the ability to have children.
The Mansons leave Wales for London, where Manson hopes to extend his research within a government agency. Quickly disillusioned by bureaucracy, he is lured into society practice and slowly abandons his ideals in exchange for prestige and wealth. Christine is increasingly unhappy, but his response is annoyance with her and an affair with a married woman. When one of his new associates botches an elective operation on a trusting patient, he realizes the colleague is nothing more than a society abortionist and that he and his new friends are little better.
He decides to sell his practice and renews contact with Denny to establish a group consulting practice "on scientific principles" in a carefully chosen Midland town. He also helps the tubercular daughter of an old friend to an unorthodox (but effective) pneumothorax in a clinic run by Stillman, an American who does not have an MD. Just as he and Christine have rediscovered joy in each other and their future together, she is killed in a freak accident. Only days later in the depths of grief, he is brought before the General Medical Council on charges of unprofessional conduct laid by his former associates. He acquits himself brilliantly and leaves with his old friend Denny for work in the Midlands.
The author reminisces about her experiences teaching English literature in Iran before, during, and after the revolution and the Iran-Iraq war. Chronology is not important and the book opens near the end of her sojourn in Tehran. A small group of young women who met when they were University students gather in her home to read and discuss English literature. They wear western clothes, remove their veils, and eat sweets. Some have been in prison. They conceal their simple purpose from fathers, husbands, brothers, because their gathering to read Western fiction would be construed as an act of defiance.
In four sections, two named for twentieth-century novels and two for nineteenth-century authors--"Lolita," "Gatsby," "James," and "Austen"--Nafisi constructs a series of flashbacks that describe the events of late 1970s to the 1990s in the inner and outer world of an academic woman. The books and writers used in the section headings have walk-on parts or starring roles that jar in this ostensibly alien context. Yet, they work surprisingly well for the women students, stimulating them to think in new ways about the situation in which they find themselves. Conversely, as the students assimilate the English and American writers into their world, we learn more about their Iran.