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Comedy Drama / 13m, 4f / Int. w. inset. Kirk Douglas played on Broadway as a charming rogue who contrives to serve a short sentence in an airy mental institution rather in a prison. This, he learns, was a mistake. He clashes with the head nurse, a fierce artinet. Quickly, he takes over the yard and accomplishes what the medical profession has been unable to do for twelve years; he makes a presumed deaf and dumb Indian talk. He leads others out of introversion, stages a revolt so that they can see the world series on television, and arranges a rollicking midnight party with liquor and chippies. For one offense, the head nurse has him submit to shock treatment. The party is too horrid for her and she forces him to submit to a final correction a frontal lobotomy. Winner of the 2001 Outer Critics Circle Award for Outstanding Revival. "Cuckoo is captivating." - the New York Post "Scarifying and powerful." - the New York Times

Tabla de contenidos provista por Syndetics

• Life and Background of the Author
• Introduction to the Novel
• Critical Commentaries
• Part 1 They're Out There
• Part 1 When the Fog Clears
• Part 1 The New Man
• Part 1 In the Glass Station
• Part 1 Before Noontime
• Part 1 One Christmas
• Part 1 First Time for a Long, Long Time
• Part 1 Come Morning
• Part 1 All Through Breakfast
• Part 1 There's a Monopoly Game
• Part 1 There's Long Spells
• Part 1 A Visiting Doctor
• Part 1 It's Getting Hard
• Part 1 There's a Shipment of Frozen Parts
• Part 1 I Know How They Work It
• Part 2 Just at the Edge of My Vision
• Part 2 The Way the Big Nurse Acted
• Part 2 In the Group Meetings
• Part 2 Up Ahead of Me
• Part 2 Whatever It Was
• Part 2 They Take Me with the Acutes Sometimes
• Part 2 I Remember It Was Friday Again
• Part 2 Crossing the Grounds
• Part 3 After That
• Part 3 Two Whores
• Part 4 The Big Nurse
• Part 4 Up on Disturbed
• Part 4 There Had Been Times
• Part 4 I've Given What Happened Next
• Character Analyses
• Critical Essays
• CliffsNotes Review
• CliffsNotes Resource Center
• Index

Extracto provisto por Syndetics

Sketches Psychedelic sixties. God knows whatever that means it certainly meant far more than drugs, though drugs still work as a pretty good handle to the phenomena. I grabbed at that handle. Legally, too, I might add. Almost patriotically, in fact. Early psychedelic sixties... Eight o'clock every Tuesday morning I showed up at the vet's hospital in Menlo Park, ready to roll. The doctor deposited me in a little room on his ward, dealt me a couple of pills or a shot or a little glass of bitter juice, then locked the door. He checked back every forty minutes to see if I was still alive, took some tests, asked some questions, left again. The rest of the time I spent studying the inside of my forehead, or looking out the little window in the door. It was six inches wide and eight inches high, and it had heavy chicken wire inside the glass. You get your visions through whatever gate you're granted. Patients straggled by in the hall outside, their faces all ghastly confessions. Sometimes I looked at them and sometimes they looked at me. but rarely did we look at one another. It was too naked and painful. More was revealed in a human face than a human being can bear, face-to-face. Sometimes the nurse came by and checked on me. Her face was different. It was painful business, but not naked. This was not a person you could allow yourself to be naked in front of. Six months or so later I had finished the drug experiments and applied for a job. I was taken on as a nurse's aide, in the same ward, with the same doctor, under the same nurse--and you must understand we're talking about a huge hospital here! It was weird. But, as I said, it was the sixties. Those faces were still there, still painfully naked. To ward them off my case I very prudently took to carrying around a little notebook, to scribble notes. I got a lot of compliments from nurses: "Good for you, Mr. Kesey. That's the spirit. Get to know these men." I also scribbled faces. No, that's not correct. As I prowl through this stack of sketches I can see that these faces bored their way behind my forehead and scribbled themselves. I just held the pen and waited for the magic to happen. This was, after all, the sixties. Ken Kesey Excerpted from One Flew over the Cuckoo's Nest by Ken kesey All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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Library Journal Review

This excellent version of Kesey's classic novel does not supplement the fine Recorded Books edition (Audio Reviews, LJ 2/1/93). However, this Blackstone version is a worthy companion, based on the reading skills of narrator Tom Parker. Parker does an exceptional job of bringing to life the characters of Randall Patrick McMurphy, Big Nurse Ratched, Chief Broom, and the others occupying the Oregon mental hospital. He is especially good with Chief Broom, the story's narrator, presenting the chief's state of mind in seeing dark forces behind the nurse's actions plus the changes he undergoes through McMurphy's rebellious, fun-loving nature. Parker's skills and the continuing popularity of this work make this version a required purchase for all collections, even those libraries that have the earlier edition.‘Stephen L. Hupp, Univ. of Pittsburgh at Johnstown, PA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Notas de autor provistas por Syndetics

Ken Kesey, September 17, 1935 - November 10, 2001 Kenneth Elton "Ken" Kesey was born in Colorado on September 17, 1935. He graduated from the University of Oregon, and published two full-length novels that helped to give him a cult following. "One Flew over the Cuckoo's Nest" (1962) owes much to Kesey's own experience as a ward attendant at the Menlo Park Veterans' Hospital. This exciting first novel was told from the point of view of a half-Indian man who thinks of himself as the Big Chief pictured on the writing tablets of everybody's school days looking out at the other inmates in a Disneylike world. Its portrayal of the doomed but heroic rebel McMurphy stood for a particular kind of American individualism. The book was adapted into a successful stage play by Dale Wasserman, and in 1975, Milos Forman directed a screen adaptation, which won the "Big Five" Academy Awards: Best Picture, Best Actor (Jack Nicholson), Best Actress (Louise Fletcher), Best Director (Forman) and Best Adapted Screenplay (Lawrence Hauben, Bo Goldman).

Kesey's Sometimes a Great Notion (1964) is a long, complex novel that troubled many of his earlier readers. Kesey's most recent novel was Demon Box (1987); although it was somewhat well received, it was still compared unfavorably to his earlier works. His last major work was an essay for Rolling Stone magazine calling for peace in the aftermath of the September 11 attacks.

On October 25, 2001, Kesey had surgery on his liver to remove a tumor. He died of complications from the surgery on November 10, 2001. He was 66.

(Bowker Author Biography)