Showing 1 - 10 of 399 annotations tagged with the keyword "Trauma"
Summary:This novel recasts Charles Dickens’ David Copperfield for modern day as a literary take on the opioid addiction crisis in the U.S. during the 1990s and 2000s with apparent connections to Beth Macy’s nonfiction book, Dopesick, and the eight-part TV miniseries of the same name it spawned. The author, Barbara Kingsolver, assures potential readers that having read David Copperfield is not a prerequisite for comprehending and appreciating Demon Copperhead.
Summary:Anna Gasperini builds on existing scholarship by examining how Victorian ‘penny blood’ literature depicted working-class readers’ anxieties concerning medical dissection following the 1832 Anatomy Act. Within the historical context of Britain, a dearth of cadavers spurred the rise of various crimes, including body-snatching, graverobbing, and murder. While the families of the middle- and upper-class dead could finance a funeral and secure a place of safe rest, such as in an ancestral vault or tomb, the poor were often buried in shallow or mass graves. These burial sites were often unearthed, and the bodies were sold to (knowing and unknowing) medical men for anatomical examination. To quell these crimes, government authorities instated the 1832 Anatomy Act, which was “a law that allowed anatomists to source dissection material from the pauper” (xii). More specifically, Gasperini explains, “[w]hen it was passed, the Anatomy Act imposed that the bodies of those who were too poor, or whose families were too poor, to afford a funeral were to be handed over to the anatomy schools for dissection” (xii). The Anatomy Act, disregarding pauper consent and personal wishes, effectively targeted impoverished people who relied on workhouse support and alms, exploiting poor bodies to supply medical schools and advance research. The fear and disgust for the law were widespread: “. . . for them [working-class penny blood readers] dissection, bodysnatching, and forfeiture of one’s body to the anatomists after 48 hours under the Anatomy Act were a terrifying reality” (xiii). This fear oddly presaged Count Dracula’s remark in Tod Browning’s 1931 film: “There are far worse things awaiting man than death.” In other words, the finality of death may be incomprehensible, but posthumous desecration of the body through dissection provokes a deeper sense of horror.
Summary:Izzy is a teenager who has been in foster care for a decade since the age of 7 when her mother was imprisoned and judged insane for having killed her father. She struggles with a desire to cut herself. Her current foster parents, Harry and Peg, seem kindly and engage Izzy in their task to catalogue artifacts from the nearby state asylum that has recently closed.
Summary:The titular "severance" surgical procedure is the ultimate answer to the work-life balance conundrum - separating work consciousness from personal consciousness. The person's work-self has no memory or knowledge of their personal-self, and vice versa. Lumon Industries and its employees do this for seemingly good reasons (e.g. to assuage grief) but unanticipated and darker motives are in tension throughout the series as its nine episodes follow a core team of four office workers navigating the realities of having had this procedure done.
Summary:In the not-too-distant future, Arthur Leander, a famous actor, suddenly collapses and dies on a Toronto stage in the final act of King Lear.. That same night the deadly and highly contagious Georgian Flu reaches North America from Russia. Within days, civilization, as we know it, collapses: no electricity, no gasoline, no water, no travel, no Internet, no information, no medicine, and no escape. A handful of survivors hide in their separate lairs, until their resources are depleted and then they flee on foot, at first alone, stealing and foraging for food, trusting no one, and learning to kill. Surviving. The story takes place in Year 20 after the collapse with frequent visits to the past.
A sudden cramp shoots down the spine and then, stillness... (p. 9)
An unbearable stinging had settled into her shoulder neck ember... (p. 10)
She felt an invisible wound wrapping her up and suffocating her... (p.10)
A slight numbness that starts in the shoulder and extends along the arm to the elbow until it reaches the back of her right hand, the fingers where it all started. (p. 12)
Inflammatio. In flames. En llamas. Ardor without romance. (p. 10)Quickly, then, the story shifts from Ella’s dissertation odyssey to her diagnostic odyssey. As she makes her way along this journey during the first chapter, other characters come into the picture: El, Ella’s long-term boyfriend and forensic scientist, is one. The others in her family history are “the Father,” “the Mother,” “the Brother,” and “the Twins”—none are ever named (neither, really, is Ella or El because they are “she” and “he,” respectively in Spanish). Except for the Twins, each of the subsequent four chapters center on one of these characters and how they figure into the family history. Just as in the first chapter, the stories are told through and around the health challenges each character faced; all harrowing, many life-threatening, and some metaphorical.
Summary:This is the first in an intended trilogy of speculative fiction (read: what we used to struggle to label as sci-fi or fantasy). by author N.K. Jemisin. It tells the story of a world where cities can come alive, not in the corporeal sense, and not in this universe, but in a way that intersects nonetheless with our reality. The trouble is, not all cities distinguish themselves enough to be born, and those that do often are interrupted in the process and suffer a stillbirth. We are plopped down in New York City at the moment of its intended birth, in a struggle between the city, its six human avatars (one for each borough, and one for the city as a whole) and the otherworldly force that is trying to destroy it.