Showing 121 - 130 of 519 annotations tagged with the keyword "Ordinary Life"
Banishing Verona concerns a 22-year-old house painter living in London. One soon realizes that Zeke Cafarelli is not normal. He has had a nervous breakdown a few years earlier; collects clocks--he has nine at the beginning of the novel and adds two more by novel's end--which he takes apart and restores; he has basic questions about interpersonal relations that, were it not for his illness, mentioned once, briefly and vaguely (24), one would describe as childlike naiveté.
For example, he wonders why people lie. Or, why is it so easy to identify vegetables (his parents are greengrocers) but not people each time one encounters them in even slightly different settings? Several times the author describes Zeke's mother or father (whom Zeke calls Gwen and Don, respectively) while their son is trying to confirm their identity as his parents.
Quite early in the narrative, like a dea ex machina, Verona MacIntyre enters Zeke's life. Or perhaps Venus on the half shell would be a more specific identification of the dea, since Verona is pregnant, and soon becomes as naked as Venus in the famous painting by Botticelli, to whose paintings Zeke is likened with his angelic appearance and lustrous hair. The two become oceanic--if not star-crossed--lovers-at-first-sight since Verona has to traipse off to Boston to help bail her sociopathic brother out of yet another financial and amorous mess of his own making. Despite the appearances of Jigger (Verona and Henry's grandfather in the persona of a long letter to Verona), and Toby (a mutual lover-friend of Verona and Henry), and Maurice (Gwen's lover), the plot does not seem unwieldy.
During the Dutch Golden Age, religion and medical science were combined in people's minds to the extent that illness, especially plague, was seen as a punishment from God. In the minds of many Dutch seventeenth-century Calvinists, God was vengeful and often angry with the sinner. As Matton shows in this fictional monologue of an illiterate peasant woman, Hendrickje Stoffels (1626-1663), when plague swept through the city of Amsterdam, the afflicted person had three ways of fighting the disease: prayer, folk remedies, and the ministrations of the plague doctors. But for Hendrickje, prayer held first place.Hendrickje Stoffels modeled for several Rembrandt works. She was one of the three most important women in the life of Rembrandt Harmenszoon van Rijn (1606-1669).
He was first married to Saskia van Uylenburgh, who bore him 4 children. Only Titus,their son, survived. As Saskia lay dying of tuberculosis, Rembrandt hired Geertje Dircx (c.1610-1656) as Titus's wetnurse. She became Rembrandt's lover. Hendrickje entered his household and began a relationship with the painter in the late 1640s. As Geertje was being forced out of the home, Rembrandt started paying her an annuity; later, she sued Rembrandt for breach of marriage contract. He had her removed to a prison/insane asylum. Hendrickje bore him a daughter, Cornelia (1654),the only one of his five children to survive their father.
The book begins when Hendrickje is 23 years old and Rembrandt 42. Matton's book cover shows Rembrandt's painting, Hendrickje Bathing (1655). This and several other paintings of his lover illustrates Rembrandt's passion for Henrickje who devoted her life to the artist, to Titus, and Cornelia. We read the experiences articulated by the deeply religious Hendrickje as she moves around Rembrandt's home and studio, and the streets of Amsterdam. She thinks that cats and dogs, not rats, carry the plague. She notices wounded war veterans with open sores in the streets, lepers, and public whippings and executions. She is obsessed with the worms that live in the body and cause plague and death. Cherries also cause the plague.
In 1654, the City Fathers summon her, pregnant, accusing her of whoredom--hence the title of the book. She endures an admonition and is banished from the Lord's Supper. She becomes Rembrandt's common law wife. We witness the home birth of Cornelia and observe Hendrickje breastfeeding her. She watches Rembrandt and his pupils at work in the evil smelling studio where his assistants boil rabbit skins to make glue for the paints. Hendrickje composes medications she has learnt about from a midwife in her home town of Bradevoort, but she cannot cure the plague. A comet streaks across the sky to announce an outbreak in Amsterdam. Rembrandt goes bankrupt, and Hendrickje feels Rembrandt's tears on her face as she suffers a horrific death from plague, clinically rendered by the author.
One of Steinbeck's earliest published works, The Pastures of Heaven is a collection of stories about the inhabitants of a fertile valley in California, beginning with the Spanish corporal who first stumbles across the "long valley floored with green pasturage on which a herd of deer browsed" and concluding with the families living there during the first stages of the great depression. Most of the stories take place in 1928-1929, although many are rooted in flashbacks and narratives that span the generations before.
The novel consists of short stories that describe particular times and places within the valley, and collectively form multiple different perspectives on life there; they are linked by the valley but also by the relationships between the families, and in particular, the Munroes, whose pleasant, mild appearance in almost every story heralds disaster.
Summary:Lance Clayton (Robin Williams) is an unsuccessful writer, receiving only a slew of rejections with every new novel he sends out. He teaches poetry to a small class of uninspired students (who try to use song lyrics they think he won't recognise in place of their own homework), and the principal is threatening to end the class. In addition, he is in a relationship with the art teacher (Alexie Gilmore) who has also caught the eye of a charismatic young writer and fellow teacher (Henry Simmons) who just published his first story in the New Yorker. Most disconcerting of all, his son (Daryl Sabara) is an unpopular, crude, lascivious teenager who seems to take little pleasure in being rude and mean to other people, but less pleasure in anything else. Except, perhaps, masturbation and auto-erotic asphyxiation.
At fourteen, after marginally consensual sex with a boyfriend, Jane has a baby. She managed to keep her pregnancy a well-camouflaged secret until late in the process; both family and friends are still reeling from her late-breaking news. Her mother has died; her grandmother has moved from the tribal reservation to live with Jane, her father (a white Canadian), and Jane's two brothers. Though the school she attends has daycare for students' babies, Jane finds little emotional support, even among former friends, until a new girl, Dawna, takes an active, unpretentious interest in both Jane and the baby.
With Dawna's and her grandmother's help Jane decides to make the rather complicated arrangements required to allow her to audition for the school play and pursue a longstanding dream of singing and dancing on stage. She meets with fierce and aggressive competition from a much more privileged girl who does her best to discredit Jane's efforts on account of her unfitness as both a Native American who doesn't look the part, and as an unwed mother who, as one faculty member puts it, shouldn't "parade herself" in public. Nevertheless, Jane's skill and determination and soul-searching pay off; despite the steep learning curve required to care for a baby and the psychological cost of teen motherhood, she succeeds in making the accommodations and compromises necessary to retrieve old dreams on new terms.
Summary:Until their father abandoned the family and moved to California, Toby Malone, his older brother, Jake, and his younger brother Eli have a close, easy relationship with each other and their parents. After his departure, and their move into a small condo, Jake begins to associate with drug users and dealers. He becomes secretive, his behavior becomes erratic, and Toby, from whose point of view the story is told, is torn between loyalty to Jake and guilt at keeping secrets from his mother, who, coping with her own losses, is preoccupied and somewhat depressed.
Summary:Mr. Watanabe (Takashi Shimura), a Tokyo City Hall bureaucrat near retirement, discovers he is dying of stomach cancer. Reflecting on his life, he finds that it has been empty, that he has not really lived. He devotes the time he has left to modestly exploring the possibilities of living. In a final effort to give his life meaning, he forces a reluctant bureaucracy to turn a badly drained neighborhood area into a park for children.
Summary:On February 16, 2003, readers of The New York Times Magazine came upon Harriet McBryde Johnson's cover story, "Unspeakable Conversations," and a remarkable image of her gazing directly at those readers from her power wheelchair. Her story memorably recounts her uncompromising, yet civil disagreements with Utilitarian philosopher Peter Singer about nothing less than the value of her life. That narrative essay is one of eleven stories published in Too Late to Die Young.
Summary:This collection of stories offers a sidelong view of medicine from the perspective of a thoughtful, experienced doctor of internal medicine at a teaching institution (UCSF) in an urban setting that brings a wide variety of types of patients to his door. In a context of evident respect and admiration for even the quirkiest of them, Watts admits to the kinds of personal responses most have been trained to hide-laughter, anger, bewilderment, frustration, empathetic sorrow. The cases he recounts include several whose inexplicabilities ultimately require action based as much on intuition as on science. He includes several stories of illness among his own family and friends, and makes it clear in others how his professional decisions affect his home life and his own state of mind.
Summary:Triggered in part by a trip to the Galápagos Islands, the author interweaves two parallel narratives: Darwin's "journey toward evolution" along with the related work of Alfred Russel Wallace; and the author's own journey through life, partially disabled and dependent on the specially fitted shoes that help him to walk. Together these two narratives develop "all I have come to understand about chance and change, fear and transformation, variation and cultural context, ideas about the body that question the definition and existence of difference in all of our lives" (xvii).