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Cause and effect of depression
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Tick tock. The door closed with a quiet breath. For a while, there was no sound, nothing to disturb the air. The walls remained silent, judgmental, eyeing the empty air with lifeless disposition, the false security of the gaily-painted ceiling and warm yellow wallpaper almost but not quite lulling the room's only inhabitant into dreaming. He sat upright. Shook his head, felt the strands of greasy hair tickling his eyelids, and sighed. Ahead of him lay a vast console, sliders and knobs and adjusters; behind him lay nothing but air. Tick tock. One hour. One hour before the crew would return with their cameras, their needles and pens and autograph sheets, one hour to create, one hour to destroy. He set to work. Synthetic symphonies from days …show more content…
Fifty-eight minutes, seven seconds. The small room was, momentarily, very quiet. And he began to play. At first, it was a progression of about eight notes, simple and faint. He introduced a drippy bassline, then another melody, a harmony, prodding and poking, recording and scrapping, the dull ache in his fingertips blossoming into a white-hot agony that ricocheted through his frail body and without warning brought him to a hunch, the music paused, clutching at his hands, not afraid to let himself cry. Pain was worthy of tears. Only pain and love, they told him, were to cry over. He got up and wandered over to the far wall, eyeing the ceiling in bleak judgement. Each evening, when his timer reached twenty-one hours, they lowered a pod into the room, and he slept there until the timer marked three hours. For eighteen hours a day he played the synthesiser, breaking occasionally to use the restroom or eat. As he stared at the ceiling, color returned to his face, numbness replaced with a warm sense of existing, the touch of the cool air against his skin. He looked at his hands. They were calloused and raw, nails gnawed to the quick, fingerprints lost among countless scars and burns. He grimaced. They didn't let him care for his hands, which was silly; he was a musician and he needed them to
Upon the dancer’s departure, “the dancer, who though older was still languid and full of grace, reached out and tapped me with two fingers on the cheek, turned, and walked away” (185). Krauss uses this odd gesture by the dancer helps reinforce the strange quirks of the dancer and the author’s thought of the gesture containing “something condescending in it, even meant to humiliate” (185). The use of the words, “languid and full of grace” continues to strengthen the narrator’s fascination in the dancers beauty but also how the narrator feels uncomfortable with her interactions with the dancer. After the narrator’s encounter with the dancer, she walks by a crowded park “until a cry rang out, pained and terrified, an agonizing child’s cry that tore into[her] as if it were an appeal to [her] alone” (186). The author’s use of the painful and terrifying cry reintroduces the theme of a screaming child from the first passage which reinforces the author’s incapability to manager her guilt. The use of the word “agonizing” in this context suggests the overwhelming amount of guilt the author contains but in form as a youthful shrilling scream. Towards the end of the short story, the agonizing
The house was full of dead bodies, it seemed. It felt like a mechanical cemetery. So silent. None of the humming hidden energy of machines waiting to function at the tap of a
I noticed how white and well-shaped his own hands were. They looked calm, somehow, and skilled. His eyes were melancholy, and were set back deep under his brow. His face was ruggedly formed, but it looked like ashes – like something from which all the warmth and light had dried out. Everything about this old man was in keeping with his dignified manner (24)
“A vast silence reigned over the land. The land itself was a desolation, lifeless, without
"The spirits on the wall are fading, fading, finally being forced on their way to oblivion, free of the house, freeing the house, leaving a warm, clean sweet space among the living, among the good and hopeful."
From start to finish. The old man examined how each individual water droplet splashed once it reached the ground one after the other. He would lay on the bed and watch how the raindrops fell from the roof and how reunited they became once they landed. His rusty, most prized, phonograph, played in the background, the sweet melody of The temptations singers, soothed his ears. The rhyming beat of the instruments made the man feel young again and brought back part of the happiness he once carried with his significant other. “I guess it’s time to get up and make my breakfast already.” he said, as he looked at the clock.
Billie Jo's hands are badly burned as a result of the accident. Her hands ache too much for her to stretch her fingers to play the piano. Billie Jo experiences the loss of her ability to play the piano. The author writes, “On chord and my hands scream with pain for days”(135). This brings grief and anger to Billie Jo because people no longer see her as the talented pianist she is, but instead, they feel sorry for her and see her as a "poor motherless thing. Billie Jo also grieves for her father because he has distanced himself from her. She barely recognizes him. Billie Jo concludes, “I don’t know my father anymore. He sits across from me, he looks like my father....but he is a stranger”(76). Billie Jo grieves because she knows she cannot forgive him for the pail of kerosene or going to the bar while Ma was slowly dying, begging for water. Billie Jo is grieving because she can no longer depend on her piano playing as her ticket out of the dust. As revealed during a performance, “But my hands are no good anymore, my playing’s no good”(136). Billie Jo wants to get out of the dust but she cannot anymore because she plays like a ‘cripple.’ Billie Jo has so many experiences that cause her to grief and fire up with
...ome the dream of attainment slowly became a nightmare. His house has been abandoned, it is empty and dark, the entryway or doors are locked. The sign of age, rust comes off in his hands. His body is cold, and he has deteriorated physically & emotionally. He is weathered just like his house and life. He is damaged poor, homeless, and the abandoned one.
123 help me editors, “symbolism in ‘The Story of an Hour.’” 123 help me, Inc., n.d web. 17 Mar 2014
(Carter 50). The dwelling no longer possessed its benevolent light, but was rather stripped of it, and only an absolute darkness remained in its absence. The supreme obscurity symbolizes the fact that no light found refuge within the confines of the house, and since light is viewed as an indicator of hope, the extinction of it reinstates the fact that the Beast had been deprived of the indemnity of her return. Another instance in which his anguish at her abandonment is connoted is when the “house [echoes] with desertion” (Carter 50). Despite the fact that the house is rather grand and is beautifully furnished, there fails to be the reverberations of any sounds that would deem the dwelling alive.
After his sudden impulse, Tom found himself on the other side of his window, standing on the ledge below him, gripping the ledge tightly above him. A breeze full of brisk air carried itself to collide with Tom’s body, making his knuckles white from grasping the ledge so he would not be carried by the wind. Inching towards the bright colored paper, he could feel his stomach churning and his jacket grazing across the uneven brick. His mind was only focused on the pattern of steps and hand movements he would do, hoping to not think of the imminent danger and bright lights below him. He began to say to himself, “Right, left, right, left, right…,” keeping that colored paper in his mind and sight. The ledge, its width around half of his foot length, seemed to be infinite.
As I lay there resting, I closed my eyes and just soaked in the joyous sounds of the holiday. I could hear my father chatting with my grandmother, reminiscing of childhood memories and the joy of raising kids. Soft acoustic guitar melodies from the stereo sounded above the snapping and crackling of the fire. The ...
Often, he patted water hydrants and parking meters, and is appalled when the furnitures doesn’t reply to him as he makes a conversation. Although Dr.P physically and mentally felt great, he went to his eye doctor who recommended him to Mr.Sacks. During his appointment with Oliver Sacks, he was able to distinguish abstract objects. However, as the objects became more complexed, he began to guess. Sacks was shocked to find Dr.P facing him with his right ear, rather than his eyes. Not only that, but Dr.P had also mistook his wife for his hat and his foot for his shoe. Sacks wanted to understand more about his case and went to his house a few days later. He came upon Dr.P’s artwork, which was placed in chronological order. There was a massive difference between his art work then and now. Before it was, “naturalistic and realistic, with vivid mood and atmosphere, but finely detailed and concrete. Then, years later, they became less vivid, less concrete, less realistic and naturalistic, but far more abstract, even geometric and cubist,” (Sacks 17). Sacks was curious on how Dr.P was able to function in life, so he asked his wife. “I put his usual clothes out, in all the usual places, and he dresses without difficulty, singing to himself,” (Mrs.P 17). Music centered all around Mr.P’s life, which made him able to live an average life. Although his disease became worse
Upon moving in to her home she is captivated, enthralled with the luscious garden, stunning greenhouse and well crafted colonial estate. This was a place she fantasized about, qualifying it as a home in which she seemed comfortable and free. These thoughts don’t last for long, however, when she is prescribed bed rest. She begins to think that the wallpaper, or someone in the wallpaper is watching her making her feel crazy. She finally abandons her positivity towards what now can be considered her husband’s home, and only labels negative features of the home. For example, the narrator rants about the wallpaper being, “the strangest yellow…wallpaper! It makes me think of… foul, bad yellow things” (Gilman). One can only imagine the mental torture that the narrator is experiencing, staring at the lifeless, repulsive yellow hue of ripping
...es to move but he can’t. His whole body is numb, his mind in a frenzy of worry. The sound of machines doing their job fills his ears; is this what it was like to have an out of body experience? The thought was interrupted by his father’s solemn voice. “Pull the plug,” he says. In a matter of a few seconds, the boy has drifted off into an endless sleep.