Showing 111 - 120 of 660 annotations tagged with the keyword "Loneliness"
This suggestively titled collection of poems provides a lyric record of a physician’s way of seeing. The situations to which the poems bear witness are not only medical, though many are. Some are cityscapes into which are woven surprisingly astute observations of homeless people or hitchhikers or ducks in the park. Some explore the geography of a body where memories are held in “neuron chains.” Some articulate bits of personal history from the point of view of a woman who has spent years in medicine, caring for the elderly, seeing bodies with the double vision of a clinician and a person whose spirituality clearly informs all she sees.
Titles like “ER Alphabet of Hurt” or “Looking for God On the Radio” or “Hippocrates Voyeur” or simply “Scars” may give some sense of the range of focus. Her vision and voice are strongly local; those who know Marin County, north of San Francisco, will recognize the places that become the poet’s personal geography. Those who don’t will still see in these poems a sensibility shaped and refined by the knowledge that comes from deep habitation.
Summary:As the story opens, Sage Priestly, 17, is running for class president against Mona, whose popularity Sage finds both threatening, fascinating, and a matter that keeps her in a state of uncomfortable envy. In her efforts to "be Mona," Sage undertakes a drastic diet, changes her haircolor, and focuses all her leisure dream time on Roger--a boy she can't see is incipiently abusive, though her long-time friend, Vern, loves her in a healthy and faithful way--a love that is tested when Sage starts dating Roger and suffering actual physical abuse. As we learn about her troubled social life, we also learn that at home Sage is a caregiver for her single mother whose bipolar disorder and depression pose a huge and confusing challenge to the teenage daughter. Vern's parents eventually intervene to help both Sage and her mother get appropriate care and oversight, and Sage begins to recognize in Vern (and his gay friend Walter, who has suffered his own social challenges) the kind of friend that will last. The book includes an afterword in which the author provides a note from personal experience on bipolar disorder (one of her parents was bipolar) and abuse, and lists helpful resources.
Summary:19 year old Clay has returned to Los Angeles for the Christmas break, his first time back after leaving for a Northeastern college. He spends the next month meeting with his clique, going to parties and restaurants, visting a friend hospitalized for anorexia, lying on his bed at home and joining his family at the mall or for dinner. As Clay and his friends are the progeny of LA's wealthiest, this typical return-from-college-for-the-Christmas-break story also entails driving expensive cars, steady drinking, constant smoking, copious amounts of cocaine and marijuana, and frequent sex (gay, straight; voluntary, paid-for). Dulled by drugs and boredom, these teenagers are drawn to excesses to jolt them out of their expensively-maintained ruts: to prostitution and snuff films, to dead bodies in the street and, ultimately, to sadistic child abuse.
This story is told from the perspective of Emily, a forty-year-old spinster and former high school English teacher, who tends bar in a Massachusetts town. Emily has built a "disciplined" life, seeking to protect herself from the emotional pain of earlier failed romantic attachments, and from the cynicism that propelled her out of teaching--a cynicism born out of the apathy with which the students responded to her own passionate love of poetry. She has held herself aloof from the cautious social overtures of Jeff, the bar manager.
One night, a white man in a wheelchair and his black male attendant drive up to the bar. The arrival of this pair leads Emily to examine and re-assess her life. "Emily had worked [t]here for over seven years, had never had a customer in a wheelchair, and had never wondered why the front entrance had a ramp instead of steps." The disabled man, Drew, is quadriplegic (the result of diving into a wave at age 21, as Emily later finds out). But he and his attendant, Alvin, seem to be comfortable in the bar and with each other, and Emily relaxes.
As she observes Drew and watches how Alvin helps him, she tries to imagine their lives. "She thought of Drew . . . learning each movement he could perform alone, and each one he could not; learning what someone else had to help him do, and what someone had to do for him . . . So, was anyone boundless? Most of the time, you could avoid what disgusted you. But if you always needed someone to help you simply to live . . . you would . . . become disgusted by yourself."
Emily also imagines Jeff's life as a divorced father, and she can even empathize with Jeff's former wife, who left him. Jeff, she learns, had had a friend who became quadriplegic, the victim of a land mine during the war in Vietnam--hence the ramp entrance to the bar. As the story ends, Emily agrees to let Jeff cook lunch for her.
Summary:Letters to a stranger is a slim volume of poems by Thomas James ((1946 - 1974) posthumously collected and published in 2008 by an admiring reader/ critic, Lucy Brock-Broido. James died by suicide in 1974.
Summary:Holding Our Own: Embracing the End of Life is a documentary film that shows aging and dying as anything but morbid, and death as the final healing in the hospice way. Art and music are combined as a way to bring people into a subject that they'd rather resist.
Summary:This groundbreaking international film documents the positive impact of art and other creative activities on people with Alzheimer's disease. The film's intention is to change the way we look at the disease. It does just that. Brilliantly.
Summary:George Washington Crosby is dying from kidney failure. The eighty-year-old man has a crumbling body - Parkinson's disease, cancer, diabetes, and previous heart attacks - and a murky mind. He is hallucinating and his memories are disordered. George occupies a hospital bed in the living room of a house that he constructed himself. His family keeps him company as they await his imminent demise.
Summary:This is a collection of four stories and a novella with pervasive themes of death, loss, grieving, mourning, and anger; the characters live in rural parts of the upper midwest, and there is much unhappiness in their lives.
Séraphine (Yolande Moreau) is a housekeeper, ill-treated by her employers, but she finds solace in painting naïve images of flowers, fruit, and birds, using vivid colours that she makes herself from plants and animals. Her mistress rejects the art as junk.
Séraphine sympathizes with the apparent loneliness of the German tenant Uhde (Ulrich Tukur) who is a connaisseur of art. He admires one of her tableaux and is astonished to discover that the artist is his housekeeper. He encourages her and buys some paintings. But war in 1914 forces him to return to Germany.
Spiralling downward deeper into poverty and mental alienation, Séraphine continues to paint works that grow larger, bolder, and more colorful. Finally her bizarre behavior leads to her arrest and commital in an insane asylum, and her painting ceases.
Uhde eventually returns to France and organizes the first Naïve Art exhibition featuring work by Henri Rousseau and Séraphine. But only years later does he bother to look for her. She is miserable. He arranges for her to be given a more comfortable room, but he doesn’t speak to her and she never paints again.