Showing 11 - 20 of 71 annotations contributed by Wear, Delese
Summary:The Caregiver’s Tale: Loss and Renewal in Memoirs of Family Life is divided into three parts. The first section, “Care Situations,” provides the cultural context of illness and disability and focuses on four common family care situations: cancer, HIV/AIDS, mental illness/chemical dependence, and dementia. The second section of the book, “Care Relationships,” highlights patterns of caregiving, including caring for children, sibling care, couple care, and parent care. The third section of the book contains well over 100 annotations of memoirs of caregiving, each approximately a half-page in length.
Summary:This edited anthology, which includes poems, essays, short stories, and other creative forms (e.g., a radio diary, a letter to a social service agency), is organized into sections that include Body and Self, Diagnosis and Treatment, Womanhood, Family Life and Caregiving, Professional Life and Illness, and Advocacy. Most works found their way into this collection through a call for submissions, although a few selections are well known, such as Lynne Sharon Schwartz's "So You're Going to Have a New Body !," or an excerpt from Rachel Naomi Remen's Kitchen Table Wisdom (see annotations). In addition, the anthology also includes essays by scholars such as Arthur W. Frank and Rita Charon, who theorize gendered illness narratives.
Summary:Perhaps the strongest piece in Jhumpa Lahiri's collection Unaccustomed Earth "Only Goodness" is the story of an American Bengali family and their alcoholic son Rahul. He takes his first drink in high school when he visits his sister Sudha at college. By the time he is dismissed from college several years later, he is an alcoholic who has devastated his parents and destroyed their high expectations for him. The once precocious and promising Rahul returns to live in his parents' home and finds work in a laundromat. Other disappointments and fractures to their relationship occur as he becomes further estranged from them. Finally serious about his recovery, he sends a postcard to Sudha, now living in London with her British husband and their baby, and asks to visit them. The visit goes very well until Rahul gets drunk while babysitting his infant nephew and leaves him alone in the bathtub as he is passed out in bed. Sudha, unable to make excuses for him, asks him to leave their home the following morning.
This is the story of Betty, a 250-pound, 5-foot-2-inch woman who comes to the psychiatrist-narrator's office to be treated for her eating disorder. What makes the story more than the sad tale of a depressed, obese woman is the immediate disclosure of the narrator that he is "repelled" and "disgusted" by fat women, that his "contempt surpasses all cultural norms."
Nevertheless, he decides to treat Betty, who successfully manages to shed huge amounts of weight and come to terms with many of the problems leading to her obesity. The narrator, too, confronts his own excessive biases so that readers are left with a sense that Betty "helped" him too.
This slim volume is Calvin Trillin’s tribute to his wife Alice, not only his muse and his first and most critical reader but also a figure well known to his readers. First written as a long essay in The New Yorker, the book is a slightly expanded version that chronicles their relationship, their family life, her many and varied interests, her illness—lung cancer—that first appeared in 1976, and her death in 2001 waiting in the heart failure unit of a hospital, her heart having been damaged by the radiation treatment 25 years before.
Summary:This novel by the Nobel-prize winning author chronicles the half century of love entwining three people: Florentino, a poet and businessman who has remained unmarried and has been in love with Fermina, who has had a long, sturdy, reasonably satisfying marriage to Juvenal, a prominent physician and one of the most illustrious men of his time. After fifty years of unrequited love, Florentino declares his love once again to Fermina, now a widow. They become lovers, finally, on a boat cruising up a river without cargo or passengers and with a phony yellow plague flag flying to avoid every port and all human contact.
This extraordinary book is ostensibly "about" a doctor caring for persons with HIV/AIDS. That it is, but it is also a book containing multiple texts. It is a doctor's personal journey toward understanding the multiple meanings of HIV/AIDS for those who have it and those who care for them. It is the story of a physician, an Indian, born in Ethiopia to Christian expatriate teachers, in America since 1980, now in Johnson City, Tennessee, still trying to determine the meaning of "home."
It is, at the same time, a glorious pastoral account of practicing medicine in Tennessee--here making a house call to Vicki and Clyde, whose trailer is perched on the side of a mountain, now traveling through the Cumberland Gap to a cinder-block house to see Gordon, another native son who has come home to die. On still another level it is the story of a man trying to understand what it is like to be gay; a man trying to integrate his passion for his work with his life at home; a man trying to explain to his wife (and sadly, even some of his peers) his commitment to caring for persons infected with the virus.
The portraits Verghese draws of his patients are extraordinary: local boys now men, now sick, returning to Johnson City to be cared for by family; a woman infected by her husband who also infected her sister; a highly-respected couple from a nearby city seeking privacy, even from their grown children. Finally, part of what makes Verghese such a fine writer is that he is able to do so without romanticizing his relationships with his patients, and without self-congratulatory accolades for the kind of care he provides.
Sister Outsider is a collection of essays focusing on race/racism, gender/sexism, sexual identity, and social class as these are enacted in a white-supremist, heterosexist, capitalist patriarchy (i.e. the United States). As a Black woman, lesbian, feminist, mother, poet, essayist, and political activist, Lorde's essays in this collection include her often quoted "The Master's Tools Will Never Dismantle the Master's House," an essay that radically challenges how white people "learn about" racism, or how men "learn about" women: "Women of today are still being called upon to stretch across the gap of male ignorance and to educate men as to our existence and our needs. This is an old and primary tool of all oppressors to keep the oppressed occupied with the master's concerns . . . ."
Her essay "Poetry is Not a Luxury" suggests that poetry is "illumination," and is a way to wed ideas and feeling, a way "we help give name to the nameless so it can be thought. The farthest horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives." Other titles include "Sexism: An American Disease in Blackface," "Man Child: A Black Lesbian Feminist's Response" (on being the lesbian mother of a son), and "The Uses of Anger: Women Respond to Racism."
Summary:This novel is a coming of age narrative, written from the perspective of Bone, the out-of-wedlock (hence, bastard) young daughter of one of the fiercely proud, dirt-poor Boatwrights of Greenville County, South Carolina. The story moves from Bone's very young recollections of life with her waitress mother Anne and her numerous aunts, uncles, and cousins; through her mother's brief marriage and quick widowhood; to her volatile, painful marriage to Daddy Glenn, whose jealousy of Bone, combined with his own destructive evilness, leads the story to a heinous climax of sexual abuse.
This is an essay from Patricia Foster's collection, Minding the Body: Women Writers on Body and Soul. The narrator describes her startling reversal to shame over her thin body as she sits in a women's bath house in Morocco with her Moroccan friend, shocked by the discovery that she was not completely at ease with the shape of her body, having thought she'd gone well beyond that stage.
Growing up in a culture that viewed thinness the way modern U.S. culture views fleshiness, the narrator describes her strong sense of unworthiness and disgrace and the jealousy she felt for the "ripe, round cheeks of the other girls, and their chubby arms and legs." Now more comfortable in her body, she is still struck by the ancient standards of beauty--thin or heavy--that are decreed by men. In this Moroccan bath, plumpness means that "women still stick to the rule that says that the male eye is the only mirror where [women] can see their true reflection."