Showing 1 - 10 of 624 annotations tagged with the keyword "Sexuality"

Ava

Mysius, Léa

Last Updated: Apr-17-2023
Annotated by:
Teagarden, J. Russell

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

The movie opens with an idyllic, bright, summer beach scene at a seaside resort somewhere along the French coastline. The beach teems with waders and sunbathers enjoying the weather and each other. Ava, a thirteen-year-old girl vacationing with her single mother and baby sister, is napping on a rock wall. A large, black dog makes its away along the beach and encounters the sleeping Ava. She awakes, startles, and the dog runs off. She follows the dog to its owner, Juan, who is in the midst of a lover’s spat. The police come and take Juan away—he doesn’t have “papers.” This is not the last time Ava meets both Juan and his dog.

While on this holiday, Ava sees her ophthalmologist who informs her that her eyesight is worsening—she has retinitis pigmentosa, and a form that progresses to blindness more rapidly than other forms. The ophthalmologist tells Ava: 

Your field of view will shrink and you’ll lose your night vision before the circle closes. It can happen very young...Soon you won’t see well in low light...at night when a place is poorly lit, say...You’ll lose your sight soon.

Ava is shattered. She wishes that the ophthalmologist was dead: “He ruined our summer,” she says to her mother, who in response pledges, “we’ll have a great summer. We have two weeks. That’s good. They won’t spoil our summer. Screw them.” What happens during these two weeks comprises most of the movie.

Ava sees her prospects for the future vanish as her vision deteriorates. She needs to get as much life in as possible before then, and it begins with the time she has left at the beach. Feeding this urgency is Ava’s concern that the end of civilization could be nearing based on evidence a recreation staff member provided, and the approval her mother gives for engaging in sex: “My first time was very early. I was thirteen like you. I understand you wanting to try. I couldn’t stop you. You’ll do as you want, I know.” With this permission from her mother and feeling “My mother is probably unhappy with a daughter like me,” little pressure is left that could counter Ava’s desire to accelerate the accumulation of life experiences, no matter how risky. 

And so Ava is off and running, making her first act stealing Juan’s dog. This eventually brings them together. Juan is older, looking like he’s in his late teens, and he’s on the lamb. She joins him and experiences sex, plunder, violence, and close calls with police. We are left wondering what will happen to Ava; the circle is closing. 

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George and Rue

Clarke, George Elliott

Last Updated: Apr-06-2023
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

George and Rufus (Rue) are born one year apart into grinding poverty of a Nova Scotia community, to a violently abusive father and a frightened well-intentioned mother. They have mixed heritage, part Black, part Mi’kmaq. Battered and hungry, they struggle with learning and abandon school after several attempts at grade three. 

George is stolid, strives to be good, serves briefly (and badly) in the military, and is happiest doing heavy physical work for farms, gardens, and woodlots. But he can never hold a job for long. He marries Blondola and they start a family in Fredericton, New Brunswick. 

Rue is more dashing, calculating, and slippery. He has a self-taught talent for piano and cultivates an odd form of jazz. He falls in love twice and loses both times--first to an accidental death and next to his own imprisonment. Arrested for theft, he serves two years in prison and, upon his release, barges into George’s marginal existence, contributing nothing and menacing the precarious but loving home. 

When Blondola goes into hospital for the birth of her daughter, the doctor refuses to let her leave until his bill is paid. George needs money desperately. Rue convinces him to use a hammer to stun a white man – any white man—and take his money. Together they settle on targeting a taxi driver, but the man who responds to the call is George’s friend. He cannot go through with it, but Rue clobbers the driver, cajoles George into robbing the dying man and dealing with the evidence.

The brutal murder and shockingly clumsy aftermath of their barely disguised deeds results in their arrest. During the police interrogation, George tries to explain his innocence and blames his brother. They are tried within the racially intolerant British-inherited court system that wrongly flatters itself to have avoided American excesses of racism. They are executed on the gallows, hanging side-by-side. 

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What She Left Behind

Wiseman, Ellen

Last Updated: Jan-03-2023
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

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. 

Izzy is given the journal of Clara, a patient who, at age 18 in 1929, was pregnant by her Italian lover, Bruno. She was committed to the asylum by her angry father.  Clara gave birth, but her baby girl was taken from her. She observed how the brutality of the hospital damaged those who did not belong there, eventually provoking the mental illness it purported to treat. With the help of a gravedigger, Bruno planned an escape, but their plan was uncovered, and Bruno died.

Izzy’s own story unfolds as she works her way through the journal, subjected to bullying and tormented by her anxieties. Peg kindly arranges to take Izzy to see her dying birth mother in prison, where she learns that the murder of her father was to prevent him from abusing young Izzy.  

Spoiler alert! Izzy learns from an elderly nurse that the asylum director took Clara’s baby for himself and that Clara is still alive. She reunites the mother and child, who is now a grown woman. Izzy joyfully learns that Peg and Harry will formally adopt her.

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Hurdy Gurdy

Wilson, Christopher

Last Updated: Oct-14-2022
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Brother Diggery, formerly called Jack Fox, tells us that he was given to the monastic order of St Odo at the age of seven in 1341. For another seven years, he is raised in innocence within the strict rules of the community, serving the brother healer, learning herbal remedies, and playing the hurdy gurdy.  

As plague arrives in 1349, he is assigned to help care for the anticipated sick – and immediately falls ill. The brothers seal him inside his cell, where he suffers greatly, narrowly escaping death; however, when he recovers and forces himself out of confinement, he discovers that everyone else has died or fled. After filling a mass grave with the remains of his brothers, he sets out on a picaresque series of adventures, blithely unaware that he and his fleas spread illness wherever they go.  

Like a fourteenth-century Candide, Brother Diggery’s gullibility and curiosity lead him to discover the wonders of good food, sex, and marriage, the cruelty of lies, theft, and wrongful imprisonment, and the corruption of the church (p. 164). He closes his account in 1352, age 18, already twice widowed, but set for life as a lay physician and father of a young boy whom he plans to give to the monastery of St Odo when he reaches age seven.



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Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Nonfiction

Genre: Memoir

Summary:

The author’s beloved Jewish mother is a great storyteller. A favorite tale describes how her grandmother was shot dead while sitting on the family’s Winnipeg porch nursing her baby. An accomplished investigative journalist, author Hoffman assumes it is fiction but decides to investigate. He is astonished to discover that, indeed, his great-grandmother was murdered, although the details deviate slightly from the family tradition. 

Through official records, the Census, and newspaper accounts he pieces together the circumstances of her life and death and the frustrated search for her killer. In the process, he learns a great deal about his ancestors and the world of Jewish immigrants in early twentieth-century Canada. Eager to share his findings, he is confronted by his mother’s decline into dementia and the poignant difficulties of grasping and reshaping memories, both collective and individual. 

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Wild Boy

Dawson, Jill

Last Updated: Jun-15-2022
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Young doctor Jean-Marc Itard is serving in the Paris home for deaf-mute children. When a “wild boy” without speech is found near a village in Aveyron, France, Itard accepts the challenge of educating him. Many senior colleagues, including Philippe Pinel, opine that it will be impossible, even when Itard determines that the boy is not deaf. The lad, now named Victor, seems to be about ten years old, but his small size owing to malnutrition may be deceptive; he quickly reaches puberty. Helped by the care and empathy of the home’s housekeeper, Madame Guérin, and Julie, her daughter, Victor learns to perform several domestic tasks but manages to speak only a few words.

 His situation is a mystery. Caregivers marvel at how he had been able to survive alone in the woods for several years. They wonder if he ran away from an abusive home, or if he was deliberately abandoned because of his disability. A crisis emerges when a woman appears claiming to be his relative. Itard eventually abandons the effort to educate Victor, but he is allowed to continue living with the Guérins.

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Practice

Berlin, Richard

Last Updated: Oct-26-2021
Annotated by:
Kohn, Martin

Primary Category: Literature / Poetry

Genre: Collection (Poems)

Summary:

Practice is Richard Berlin’s third book of poetry (two of which are chapbooks) in addition to two prose books. It contains 64 poems and is fronted by an essay, “Why Doctors Need Poetry”. A few pages of notes at the end helpfully explain the context for 15 of the poems. As Dr. Berlin explains at the beginning of his opening essay: “Most of the poems in this volume first appeared in my column, ‘Poetry of the Times,’ a feature of Psychiatric Times”, which, at the time of publication of this volume he had been writing for 16 years. This—and many more poems in other journals, anthologies, and books— all from a man who began writing poetry in “mid-life”. Evident in the poems in this collection is a person experiencing much more than medical/psychiatric practice, but a full cornucopia of life: his love of art, music, food, nature, and the people he shares this bounty with. The collection, presented in three sections, weaves through all of these rich encounters, with only the final section, the shortest of the three, having more of a focus on family, friends and late of the year poems.

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Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

A murder mystery set in Harlem of the 1930s. The Conjure-Man, Frimbo, is a reclusive, highly educated soothsayer and fortune teller born in Africa. His Harlem dwelling is a popular destination for local people seeking direction for the decisions that they confront. He takes pains to conceal much about his identity.

One evening, Frimbo is found dead by a client, while a handful of people occupy his waiting room. Doctor Archer, who lives across the street, is summoned to pronounce the death, and the police come soon, led by detective Dart. Then the corpse disappears, and the Conjure-Man reappears alive to the amazement of all.

The investigators use recent technology, including blood typing, to establish that the corpse was not that of the Conjure-Man. Over just a few days, the doctor and the detective work their way through all the possible scenarios to establish the identity and motive of the killer. The ending is surprising.

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Annotated by:
Schilling, Carol

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Crip Camp: A Disability Revolution is an exuberant film by and about people who have been marginalized on screen and in their lives. It opens with black and white archival footage of Camp Jened, a quirky, free-spirited, counter-culture summer camp for disabled teenagers in New York’s Catskilll Mountains. One camper called it a utopia. The second and longer part of the film follows several former campers into their adult lives. They become parents, spouses, professionals, and disability rights activists at a crucial historic moment for disability legislation. Both parts of the film propose that the liberty and solidarity experienced at Jened emboldened several of the campers to seek opportunity and equality, for themselves and others, in the world beyond their camp.

Located near Woodstock, geographically and culturally, Jened offered a space free from the discrimination the summer residents encountered elsewhere. Campers could engage in uninhibited physical activities, uncensored storytelling, self-governance, mutual caretaking, real friendships, irreverent insider humor, romance, and fun. One powerful scene allows viewers to overhear campers with diverse disabilities share common experiences: being disrespected or ignored at school, overly protected at home, isolated everywhere. Another tracks the campers’ hilarity and pride over an outbreak of “crabs.” One camper declares his counselor’s demonstration of how to kiss, “Best physical therapy ever!” 

While the film’s co-director, former camper Jim Lebrecht, narrates the film, Judy Huemann is its political and moral center. A wheelchair user, she rose from camper to counselor. Huemann was revered around camp for successfully suing the New York City Department of Education for the right to teach. She and several post-campers reunited in Berkeley, California, where they became involved in the Independent Living Movement. An astute leader, Heumann is represented as central to a remarkable 25-day sit-in at the San Francisco Department of Health, Education and Welfare (HEW) offices in 1977. She and her disabled colleagues risked their health and their lives—they slept on the floor and improvised medical necessities—to convince HEW to approve regulations essential for enforcing the anti-discrimination section of the 1973 Rehabilitation Act. The scene of Heumann’s standoff with the HEW representative is unforgettable. As are the deliveries of food, supplies, and solidarity that the Black Panthers and other marginalized groups in San Francisco provided daily. Other archival footage, including of Heumann and demonstrators stopping traffic in New York City to demand accessible taxis and of protestors abandoning their wheelchairs to pull themselves up the steps of the nation’s Capitol, are startling images of the struggle to secure disability civil rights in the United States. Recently filmed interviews with several of the former campers affirm that, despite the work toward disability justice that remains, they live fuller, more vibrant lives as a result of their experiences at Jened and the legislation they insisted on.

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Hair

Corso, Gregory

Last Updated: Apr-25-2021
Annotated by:
Mahl, Evan

Primary Category: Literature / Poetry

Genre: Poetry

Summary:

The poem, through an account of the narrator’s experiences with losing hair, explores issues such as aging, sexuality, and our impotence when faced with the vagaries of nature as it transforms our bodies. Ranging from ancient Egyptian lore to dime store pharmacies, Corso weaves a kaleidoscope of images about how humans treat and worry about their hair and how hair has been a mythopoetic vehicle for millennia.Much of the poem employs angry though humorous language whereby the narrator speaks to his hair and pleads with the gods to reverse his fate. Corso writes, "To lie in bed and be hairless is a blunder only God could allow--"; and later, "Damned be hair! . . . Hair that costs a dollar fifty to be murdered!" The poem ends with an angry diatribe against hair and an inspired denigration of its mythological power.

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