Showing 731 - 740 of 1020 annotations tagged with the keyword "Love"
A traveler falls ill and is treated by the local physician, Doctor Trifon Ivanitch, who unexpectedly shares a personal and potentially embarrassing story with the stranger. Once the doctor was asked to make a house call by a woman who believed her daughter might be dying. On his arrival, the physician finds a beautiful 20 year old woman named Alexandra who is feverish and initially unconscious. Although fully aware how ill she is, he nonetheless promises everyone that she will survive.
He is immediately infatuated with the woman and spends days and nights at her home caring for this single patient. As Alexandra's condition worsens and she becomes convinced her death is imminent, she professes love for the doctor satisfying a basic need to experience love before she dies. Just before her death, the doctor lies about their relationship to Alexandra's mother. Later the doctor marries an "ill-tempered woman" who sleeps all day. Did he marry for love, convenience, money, or penance?
To relieve her insomnia, Claire Vornoff seeks help from Dr. Declan Farrell, a well-known holistic physician, who begins to see her professionally at his country home. Farrell's methods focus on massage and bodywork, along with some acupuncture. Claire finds him an attractive paradox--sensitive and "tuned in" to her, yet also blunt and emotionally unsettling.
The client-therapist relationship becomes deeper and more complex. After Claire has a brief sexual escapade with a married man, she admits to herself that she actually loves Declan and confesses her love to him. Indirectly, he reveals that he also has strong feelings for her, but is desperately resisting those feelings and attempting to maintain his professionalism.
Claire finally breaks off their relationship and attempts to go on with her life. Over the next couple of years, Declan closes his practice, moves elsewhere, divorces his wife, and ultimately commits suicide. Claire learns of these events gradually, at second hand, as she, too, moves on, but in much a different direction. Eventually she begins a new life in Toronto.
Although the relationship between Claire and Declan occupies center stage, Claire's quest for improved health leads her to consider, and sometimes consult with, other alternative medicine practitioners as well. (I say "improved health" rather than "relief of insomnia" because, although never stated, it seems clear that Claire seeks a sense of completeness and meaning in life that goes far beyond solving her sleep problem.)
One of these healers, for example, is Mr. Spaulding, who reviews Claire's blood work and concludes, "You're in rough shape, girl." (p. 231) He explains that her "body salts are so high I can't measure them" and that her "body is throwing off one hundred times more dead cells than it should . . . "
The narrator, Jeremy, orphaned at age 8, is attempting to write a memoir of his wife's parents, June and Bernard Tremaine. The pair married in England in 1946, idealistic young members of the British Communist Party, but on their honeymoon in France something happens to June that estranges her from her husband and his values forever. After the birth of their daughter, Jeremy's wife, the two live separately. June dies in a nursing home in 1987, after telling Jeremy a great deal about her life and marriage.
In 1989 Jeremy and Bernard travel to Germany together to share in the dismantling of the Berlin Wall. Bernard has taken a lot longer than his wife did to give up on communism. In Berlin, Jeremy hears his father-in-law's very different version of the couple's biography. Jeremy then travels to France to try and unearth the truth about their honeymoon, finding unreliable storytellers, poor memory, and, at the center, June's encounter in the French countryside with a pair of black dogs, owned and trained and then abandoned by the Gestapo. The story, as Jeremy reconstitutes it, is a discovery of evil that, regardless of literal factuality, bears a terrible truth about the human capacity to do harm, both personal and political.
A young boy dreams of "Mangan’s sister," who lives nearby: "Her dress swung as she moved her body and the soft rope of her hair tossed from side to side." Her image pursues him, even at night when he is trying to say his prayers. One day, he actually encounters Mangan’s sister, and she asks whether he plans to go to the bazaar (Araby) on Saturday night. She herself "would love to go," but cannot, because she must attend a retreat at the convent. This is the boy’s big chance! He promises to bring her a gift from the bazaar. On Saturday evening he waits for his uncle to come home and give him some money, but the uncle doesn’t arrive until nine o’clock.
The boy rushes onto a deserted train, trying desperately to reach Araby before it closes, but when he arrives "the greater part of the hall was in darkness." A few stalls are still open. A few people are still hanging around. The boy looks at some porcelain figurines, but suddenly realizes that his quest is doomed to failure: "Gazing up into the darkness I saw myself as a creature driven and derided by vanity, and my eyes burned with anguish and anger."
Dr. Constance Petersen (Ingrid Bergman) is a beautiful, unattached psychiatrist whose business-like facade fails to conceal a natural empathy that draws men. For her, however, love is a mere epi-phenomenon, easy to explain and resist, until she meets Dr. Edwardes (Gregory Peck). The famous expert on the guilt complex has arrived to replace the retiring chief (Leo Carroll). Constance is smitten, and so, it seems, is he.
But soon, she realizes that Edwardes is "not well," that he is terrified of dark lines on white: fork marks on a tablecloth; threads in her robe. Worse, she discovers that Edwardes is not, in fact, Edwardes, but an amnesic physician of initials "J. B." who is convinced that he has murdered his analyst. Constance does the right thing by having him removed from work, but she refuses to believe he is a murderer. Wanting to protect her, he leaves. But she, intent on curing her lover, follows him on a journey to retrace his last movements. The task is to recover both a memory and a missing person.
They go skiing (dark lines on white) at a resort where the real Dr. Edwardes had sojourned with his patient-colleague. On a dangerous slope, J. B. suddenly remembers that Edwardes went over the cliff. The body is found, but it has a bullet in the back.
Now hiding from the police, the couple pose as newlyweds and flee to her old mentor in Rochester. Complete with accent and beard, Dr. Brulov (Michael Chekhov) is a delightful double of the recently deceased Sigmund Freud (1858-1939). It emerges that John Ballantine (Peck) never lost his childhood feelings of guilt over the accidental death of his little brother.
In a gruesome ten-second flashback, the tyke is abruptly impaled on a iron-spike fence. This ancient guilt was reactivated by his doctor’s demise and it was sublimated by the defense mechanism of an assumed identity to keep the dead man alive. An idle slip of the tongue reveals the murderer to be the jealous retiree. The killer threatens Constance and then makes a quick end by dispatching himself instead.
In this collection of 11 short stories, pediatrician-author Perri Klass primarily explores the world of women and their multiple and complex roles as mother, mother-to-be, friend, spouse, lover and professional. Parenthood--its glories, heartaches, tensions and mysteries--plays a prominent role in many of the stories. There is also a close look at woman-woman friendship--at what women say to their best friends and the nuances of the emotional responses to what is said or left unsaid.
Several stories feature single mothers: "For Women Everywhere" (a woman is helped through labor by her best friend), "Rainbow Mama" (a woman cares for her son during his diagnosis and initial treatment of leukemia), and "City Sidewalks" (a woman finds a baby on the sidewalk on Christmas Eve as she rushes to pick up her child from day care).
"In Necessary Risks," an anesthesiologist deals with work and her high energy preschool daughter while husband and easy-to-raise son head out to a dude ranch. In "The Trouble with Sophie," another high energy, dominant daughter wreaks havoc in kindergarten as well as with her concerned parents. In addition to the anesthesiologist, two other physician-mothers are featured in "Freedom Fighter" and "Love and Modern Medicine."
Parenting a newborn whilst handling other tasks is a theme featured in "Intimacy" (a high school biology teacher celebrates her first night of uninterrupted sleep as she both enjoys and envies her single friend's sex life) and in "Dedication" (a writer takes his stepson to a chess tournament while his biologist wife and newborn enjoy breastfeeding at home). Woman friendships are prominent in "For Women Everywhere," "Freedom Fighter," and "The Province of the Bearded Fathers." Grief and sudden infant death syndrome are themes of "Love and Modern Medicine."
The narrator, Latimer, begins the story with a vision of his death, which he attributes to a heart attack. He explains that, always sensitive after a childhood eye affliction and his mother's death, the further shock of a "severe illness" while at school in Geneva enabled him to see the future, and to hear others' thoughts--an experience which he describes as oppressive. He is fascinated by his brother's fiancée, Bertha, the only human whose thoughts are hidden from him, and whom he marries after his brother dies in a fall.
The marriage falters after Latimer eventually discerns Bertha's cold and manipulative nature through a temporary increase in his telepathy. When Latimer's childhood friend, the scientist Charles Meunier, performs an experimental transfusion between himself and Bertha's just-dead maid, the maid briefly revives and accuses Bertha of plotting to poison Latimer. Bertha moves out, and Latimer dies as foretold.
In the "free love" context of the nineteen-sixties, Harriet and David Lovatt are throwbacks to a more conservative, traditional, and family-oriented decade. Their life dream is to have a big house in the country filled with children, and it seems that they will succeed. After bearing four young children, however, Harriet is feeling the strain of years of childbearing, sleeplessness, money trouble, and her parents' and in-laws' disapproval of her fecundity.
Her fifth pregnancy is not only unplanned, but also unusually painful and disruptive. Harriet's doctor prescribes sedatives but finds nothing abnormal in her situation. When Ben is born, Harriet jokes that he is like "a troll or a goblin," but no one responds well to this unusually hairy and physically vigorous baby, who in turn does not respond to anything but his own desires and fears.
As he grows older, family pets and other children seem to be in physical danger. Health care professionals do not confirm the couple's conviction that Ben is not normal, but neither do they obstruct the decision to send Ben to a private institution, a removal that leaves the family temporarily happy until Harriet visits Ben and recognizes the institution for what it is, a place where all manner of "different" children are sent to live heavily medicated, physically restrained, and foreshortened lives away from families who do not want them.
Harriet brings Ben home, where he grows up amid what remains of the Lovatts' domestic fantasy, and finds community in a gang of thuggish older boys whom Harriet suspects are involved in various criminal acts. As the story closes, Ben has left home and Harriet imagines him in another country, "searching the faces in the crowd for another of his own kind" (133).
Salvadorian writer and activist Claribel Alegria has composed a sequence of poems, 47 sparse love letters to her late husband Darwin "Bud" Flakoll who died in 1995. Neither sentimental nor confessional, the poems draw on the struggles of Circe, Prometheus, and Orpheus as well as themes of unfinished rites, sadness, and symbolic immortality. The translator's preface is a reminiscence of her time with the couple then living in self-imposed exile, in addition to a critical introduction to the poetry.
On a "bright, frozen day" in December, a very old Negro lady named Phoenix Jackson carefully, haltingly walks through the woods and fields on her way to town. She talks to herself and the animals. She pauses to rest. A dog jumps at her and she falls into a ditch. A hunter comes along and helps her get up. Although she is completely worn out, she says, "I bound to go to town, Mister . . . The time come around."
When she reaches town, she goes to the clinic where an attendant thinks, "A charity case, I suppose." But Phoenix has come to get "soothing medicine" for her grandson's throat. He swallowed lye years before and his throat never heals. "We is the only two left in the world . . ." The attendant gives her a nickel. She turns to go, planning to buy her grandson a paper windmill and then make the arduous trip home.