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Mental health in literature
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Recommended: Mental health in literature
"Do you have everything you need?"
Delilah Haswell glanced up from the patient file she was handed, meeting the quizzical gaze of the psychiatrist she was assisting over the year. Though her face showed no signs of the distress she felt within, her hands, cold and clammy, betrayed her indifferent demeanor. She prayed to whoever watched over pale, petite psychiatric assistants about to delve into the forefront of a metaphorical war field of the mentally ill that her superior, Dr. Walt, would fail to notice the miniature brooks that emerged in her palms. It wouldn't do her repertoire any good.
"Yes, I believe I'm ready," Lilah assured, closing the folder after skimming over the essentials one last time, the image of the patient engraved in
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He had fallen from grace; of that, she was certain. From distinguished to dismal, the Noel Trent behind Room 017 in White Lane was a different person from the Noel Trent who took the literary industry by a storm and accumulated assorted awards in his wake. He had led a publicized existence after his series became bestsellers, adapting a lifestyle that embodied the core of reality TV these days. All of it faded when a supposedly brief excursion in France led to an untimely disappearance. Some presumed that he had retired, or became a recluse to complete his trilogy, and that was that. It was a recurring trend amongst writers anyway, so it wouldn't have been bizarre when it happened to Noel. Therefore, when he was found in the streets of Montemarte—cataleptic and incoherent, it was the controversy of the year. After being admitted to numerous institutions for treatment, progress was miniscule at best much to his fans' dismay, for not even a team of seasoned psychologists could restore Noel Trent to his former glory. Inevitably, even though it wasn't explicitly stated, the succor and interest of the public waned. New, hip and rising writers claimed the limelight he formerly inhabited, and he was all but abandoned to the umbrage of his own fugue. With the decline of attention on him came the regression of his treatment. One by one, the doctors who spearheaded his …show more content…
It was a room she had become familiar with, for it was identical to most of the other residents in White Lane. Complete with a single bed, a bedside table topped with a multipurpose clock and radio, two cushy chairs flanked a round and mahogany table for psychiatric visits, the vicinity had yet to be graced with late morning light due to the taupe drapes that sealed off illumination. She amended this immediately, flinging the curtains back and permitting the sun to dapple the room in radiance. "That seems a lot better, don't you think? You'll need all the vitamin e you can get from
In Ken Kesey’s novel One Flew Over the Cuckoo’s Nest and the film Girl, Interrupted directed by James Mangold authors both look at American psychiatric institutions of the 1960s and explore the idea that the hospitals act as microcosms for society. A microcosm is a small universe representative of a larger one thus suffers the same problems of conformity and rebellion, prejudice against minorities and authority figures ruling absolutely. Both authors use stylistic techniques to position the audience to respond to ideas common in both texts.
Ken Kesey’s One Flew Over the Cuckoo’s Nest explores the dysfunctions and struggles of life for the patients in a matriarch ruled mental hospital. As told by a schizophrenic Native American named Chief Bromden, the novel focuses primarily on Randle McMurphy, a boisterous new patient introduced into the ward, and his constant war with the Big Nurse Ratched, the emasculating authoritarian ruler of the ward. Constricted by the austere ward policy and the callous Big Nurse, the patients are intimidated into passivity. Feeling less like patients and more like inmates of a prison, the men surrender themselves to a life of submissiveness-- until McMurphy arrives. With his defiant, fearless and humorous presence, he instills a certain sense of rebellion within all of the other patients. Before long, McMurphy has the majority of the Acutes on the ward following him and looking to him as though he is a hero. His reputation quickly escalates into something Christ-like as he challenges the nurse repeatedly, showing the other men through his battle and his humor that one must never be afraid to go against an authority that favors conformity and efficiency over individual people and their needs. McMurphy’s ruthless behavior and seemingly unwavering will to protest ward policy and exhaust Nurse Ratched’s placidity not only serves to inspire other characters in the novel, but also brings the Kesey’s central theme into focus: the struggle of the individual against the manipulation of authoritarian conformists. The asylum itself is but a microcosm of society in 1950’s America, therefore the patients represent the individuals within a conformist nation and the Big Nurse is a symbol of the authority and the force of the Combine she represents--all...
...lia Jones endured fifteen years of violence, disrespect, and infidelity, and only in those last few months was she able to muster some form of resistance. Until Sykes threatened all that she had, her home and her job, she was content enough just sweating it out. However, Sykes made that grave mistake on his own accord, and when leaving Delia with nothing to lose, he found that he had set himself up for a losing battle. Delia had surrendered to him in all those years, but Sykes had finally found a way to bring out the worst in his wife, and her aggression was finally realized by defending all that she had. After such pain and endurance, one can easily recognize how Delia Jones played the lead role in a short story called "Sweat."
The counterweight to the attempt is fear, it dives some to their death and needs to be overcome in order to be free. The author portrays this in society's need to overcome the fear of women in authority despite being against it. The use of failed examples who could not overcome the circumstances and committed suicide . The opposing example is of the character chief who succeeds in his attempt. The Author places importance on this idea through his use of the mental hospital and the fine line the characters walk. The novel sets a tone for the world of mental hospitals that leaves a lasting image and affect the way mentally ill people are perceived. So he success of the novel is driven home in its lasting
In 1978, Susan Sheehan took an interest in Sylvia Frumkin, a schizophrenic who spent most of her life in and out of mental hospitals. For more than two years, Sheehan followed Sylvia around, observing when Sylvia talked to herself, sitting in on sessions with Sylvia’s doctors, and at times, sleeping in the same bed as Sylvia during her stay at the psychiatric centers. Through Sheehan’s intensive report on Sylvia’s life, readers are able to obtain useful information on what it’s like to live with this disorder, how impairing it can be for them, and the symptoms and causes to look out for; likewise, readers can get an inside look of how some mental hospitals are run and how a misdiagnosis can negatively impact someone’s life.
Regardless of what society one derives from, when an individual is born, the community ascribes certain identity markers upon that person without their permission. Once that individual reaches an intellectual capacity to mentally understand their own existence in the world, they begin to yield the power to foster their prescribed identities, completely neglect it, or start anew. Many people hinge their entire lives on the identities society gave them, however for author-anthropologist, Zora Neale Hurston, she lacked an affinity for her blackness. Rather, in her highly criticized autobiography, Dust Tracks on a Road, Hurston inherently implies that her subscription to whiteness is what essentially helped garner her success.
There are more clues and subtle hints that reinforce these statements, most correlating to her mental illness and self-perception. The statements made through the use of said symbolism turns this story into an interesting viewpoint of a psychological breakdown.
The two texts emphasized in this essay include Elyn R. Saks’ The Center Cannot Hold : My Journey Through Madness and Joseph Campbell’s The Hero With A Thousand Faces. “There were many days when I believed I was nothing more than the Lady of Charts - a crazy woman who’d faked her way into a teaching job and would soon be discovered for what she really was and put where she really belonged - in a mental hospital” (Saks 263). Saks entire life was a struggle because of the mental illness she had since a young age, schizophrenia. Most of her younger years were lived being misunderstood by her parents and peers alike. She turned to options like substance abuse and self harm to cope with her deteriorating situation in life. There came a point where she realized that she was better than her illness and was able to overcome it with the help and guidance of a few mentors. Now, Saks is a very successful assistant dean, as well as a professor of law, psychology, psychiatry, and behavioral sciences at the University of Southern California Gould Law School. Saks also went on to receive the award for MacArthur Foundation Fellowship and write her book. Joseph Campbell was also very successful in the same way because he wrote a book that is very complex and still relevant in this day and age. Campbell made the mold and Saks’ life fits it
Charlie Goldman, as portrayed in Ann Packer’s Nerves, is a thirty-something man-child who is losing his wife and comes to realize that it is he who is lost, somewhere in the streets of New York City. Gripped with overwhelming fears and psychosomatic ailments or hypochondria, Charlie suppresses the true causes of his condition while making a futile attempt to save his marriage. His childlike approach to life and his obsessive approach to marriage pushes his wife Linda towards a career in San Francisco and ultimately divorce. This essay will explore the broader themes of growing up, obsession and love.
Prior to the hospital, Deborah only considered the gods and goddesses existing in Yr, to be her friends, as she would turn to them during times of loneliness or rejection. Throughout the time spent in the hospital, Deborah slowly opened up to Dr. Fried, even nicknaming her ‘Furii’, based upon the power her insight held. During her treatment sessions with Dr. Fried, Deborah familiarizes a feeling which she has become immune too over the years, a feeling of love. Due to the empathy displayed by famous psychiatrist Dr. Fried, the feeling of being the sick, crazy girl ultimately distinguishes during their sessions, resulting in a positive impact along Deborah’s road to recovery, "She liked working with patients. Their very illness made them examine their sanity as few 'sane ' people could. Kept from loving, sharing, and simple communication, they often hungered for it with a purity of passion that she saw as beautiful." (Greenberg, 19). When Dr. Royson supply’s for Dr. Fried, it becomes evident that the trust Dr. Fried built within her relationship with Deborah, and her genuine desire to help the protagonist, assisted the uphill battle, as without the compassion and belief Dr. Royson failed to provide, Deborah fell back down the hill. In conclusion, the honest efforts of the
...treatment of mental illnesses and that their ways of treatment and cures were ineffective and often detriments to their patients. She shows Charlotte as a victim to the male idea that women were not competent nor capable. This piece shows the power of diagnosis and its empowerment of the male physician's voice and how it took over and disempowered the female patient's opinion and thoughts on her own treatment and life choices.
Besides, when the psychiatrist confronts her, he describes her as, “small, agitated, and dark, her face shaded by a disarray…Her eyes were very black, and she seemed to emit a musk. The psychiatrist hated her”. Besides, he was very angry and wanted to leap and attach the women.
In Michael Cunningham’s The Hours Virginia Woolf, Laura Brown and Clarissa Dalloway’s lives have a common undertone. In each story the three women are forced to confront one of society’s most controversial topics: mental illness. Mental illness is such a controversial topic mainly in part from fear. Many people in today’s society fear the unknown, they fear that in which they do not fully understand; mental illnesses such as depression and schizophrenia. Michael Cunningham shows a different side of mental illnesses using Virginia, Laura and Clarissa to convey his message: Mental illness is something that is not a one dimensional kind of issue.
Through vivid yet subtle symbols, the author weaves a complex web with which to showcase the narrator's oppressive upbringing. Two literary
Girl Interrupted is a film about a young woman, Susanna Kaysen, who voluntarily enters a psychiatric facility in Massachusetts. The purpose of this paper is to analyze a portrayal of psychiatric care in the 1960’s. The film is based on the memoirs of Susanna Kaysen and her experiences during an 18 month stay at a mental institution. During her visit, Susanna is diagnosed with borderline personality disorder. The film depicts psychiatric care, diagnoses, and treatments from a different era.