Showing 1221 - 1230 of 1308 annotations tagged with the keyword "Death and Dying"
Summary:The poem depicts a fiercely wild and free woman who meets an untimely death in a motorcycle accident. The anatomy student views the cadaver as more than just "thirty-one-year-old female flesh," and fantasizes about what her life (and death) must have been like.
This story is told by Tillie's grandfather. Tillie's parents were killed in a plane crash and she now lives with her paternal grandfather, a man who (in a sense) has never really grown up. "Retirement" has always been his natural lifestyle. He says that he never "amounted to anything." The grandfather enjoys story-telling and fantasy. In his stories for Tillie, he invents the character Joey Moxey, a clown whose life-events just happen to mirror the daily events in Tillie's life.
Joey Moxey always overcomes adversity. His story is full of hairbrained schemes, breathtaking escapes, and the loving support of friends, like Tina the cat, Oogak the jungle boy, and Sadie Donut the policewoman. These stories provide a way for Tillie to understand her own world.
Finally, the grandfather discovers that he has inoperable cancer. Shortly thereafter, Joey Moxey develops a terrible runny nose and "to everyone's disappointment" dies. However, his friends, led by Sadie Donut, gather and agree to continue their friendship and their adventures together.
As you are now, so once was I; Prepare for death and follow me. The novel's advisory epigram prepares readers for the realities of aging and death which affect both narrator and reader. Following surgery, Caro Spencer is delivered to Twin Elms, a nursing home in a rural New England setting. While this intelligent woman requires only short-term care, she is deposited, permanently, in an understaffed, sub-standard care facility by relatives unwilling to add her minor but time-consuming difficulties to their own.
It is not a pretty setting. The staff is overworked and demeaning, especially to the new resident who is well-educated and accustomed to better circumstances. The nursing home routine is careless of individual differences and needs, and set up to strip away autonomy and dignity through petty and cruel indignations.
Caro is able to survive by keeping a secret diary for observations, reflections, and interpretations; ultimately, this alone sustains her. While the voice is that of an elderly woman (as we are now), the journal is for us, those still able to manage their lives, but unable to predict or control end-of-life events.
Shelley compares man's ability to stay alive to the flickering light of a passing meteor. Our light of life is wavering and brief. He urges man to strive on and live life fully nevertheless.
In the third stanza, he compares earth to a mother and a nurse; it is that which comforts and sustains us and we are afraid to leave it. Again, however, Shelley argues that life must be lived anyway. Indeed, he argues that life (and poetry) is enhanced by its close relationship with death. The hopes of what will be after death must be united with the love for the here and now.
Mother is set in the 1930's and deals with a woman's difficult life, low self-esteem, and sense of having inherited tragedy and misfortune from her mother. Even though she finally marries, and unexpectedly conceives long after her husband and she had given up trying, her outcome is destined to be unhappy. She goes into premature labor, and gives birth to a stillborn child.
When she finally wakes up, she is weak, and cannot remember anything about the delivery. Her paternalistic physician, her husband, and the hospital staff withhold from her the news that her child has died. One night, in her frustration and need, and believing that her child is in the nursery "in the basement," she searches the basement corridors for her child. Outside the morgue she begins to hemorrhage and despite the efforts of her physician, she dies.
Summary:Sea Creatures is Dr. Vernon Rowe's first collection and contains forty-eight poems divided into two sections: "Creatures of the Inland Seas" and "Out Far and In Deep." The poems are succinct and focused. Much of the imagery is derived from nature, as in the title poem, where the poet-neurologist-helicopter pilot likens his descent through the sky to a dive into a deep and ancient ocean. Poems in the first section are directly related to the poet's life as a physician; works such as "Paralyzed" "Brahms' First, First Movement" and "Wasted" are empathic portrayals of patients.
Summary:The Stone Diaries recount the life of Daisy Goodwill (1905-199? [sic]). "[W]ife, mother, citizen of our century," her son closes the benediction of her memorial service. Yet Daisy is also the orphaned daughter of an orphan--her dramatic birth a turning point for her father, the neighbours--and a social outcast. Daisy becomes a happy child, a lifelong friend, a college graduate, a consummate gardener, a cultivator of stories, a pragmatist, a romantic, a widow twice (once scandalously, once more ordinarily) . . . . In short, the diaries of "Day's Eye" bear witness to the extraordinary lives of seemingly ordinary "citizens."
Summary:This 14 line poem deals with a physician's compassion for a hopelessly ill patient ("An apparatus not for me to mend--") and his participation in active euthanasia. The patient, Annandale, was "a wreck . . . and I was there." The narrator asks the reader to view himself or herself "as I was, on the spot-- / with a slight kind of engine." (This "engine" is a hypodermic needle.) He concludes, "You wouldn't hang me? I thought not."
The narrator reflects on her mother's death through four sections. In the first, she recalls the moment her mother collapsed and died. Her father heard the crash but refused to get up from his nap to see what had happened. The narrator hears the crash fifteen hundred miles away and feels her mother's pain. This stanza also speaks about the Jewish funeral, held in Florida while Christmas carols play out over palm trees.
In the second section, the narrator is sorting through her mother's things. She dreams of her mother at seventeen, full of hope. The third section speaks about how much of the mother remains alive in the daughter. The same hips and thighs have cushioned grandmother, mother, and now daughter. The narrator feels as if she carries her mother inside her, just as her mother once carried her.
Section four brings out issues over which the mother and daughter disagreed. The narrator was once eager to create a life separate from her mother's. Now, though, she and her mother are one and the mother can live her life through the body of her daughter.
Two radically different people find themselves together on a hospital roof garden, where they first come to terms with each other, then with their pasts, their illnesses, and death. Parmigian has a fruit and vegetable stand, a terminal cancer, and a bitter wit. Richard Landau is an investment adviser in fine art, fastidious, but haunted by his childhood escape from the Holocaust.
Only in for tests, Landau becomes forced to confront Parmigian's fatalistic view of the world. As Parmigian taunts and jokes, he draws Landau into his laughter and wild imaginings, as key weapons in the fight to stay alive.