Showing 1271 - 1280 of 1285 annotations tagged with the keyword "Death and Dying"
Summary:A big, splashy wake. The corpse is decked out in lipstick and fancy dress. In life, however, she "Was scarcely looked at, much less / Wanted or talked about . . . . " She lived her life unwanted and in isolation, but in death she achieves "a place of honor," in which everyone looks at her, at least until the casket closes and "the obscene red folds / of satin" embrace her.
Summary:The narrator descends from the hospital room where his father lies dying. As he leaves the hospital and crosses the street, he scans the tiers of hospital windows. He imagines "dozens of pale hands . . . waving," but he knows that his father is behind one pane, which is "the bright, erased blankness of nothing." He suddenly has a revelation that he and his father truly recognize one another, that neither is afraid for the other. He carries this vision away in "amazement."
Summary:A man lies dying in his hospital bed, "amazed how hard it is to die" and how long it takes. A nurse looks in, he tries to sleep, he smells "the cheap / perfume Death wears." He wants to die, but "Something's stuck." He almost asked a counsellor to "Give me a shove." He is afraid that when the sun rises again, he will still be there, alive, in "that shrinking bed . . . another day."
Summary:Snodgrass writes about an old veteran who took seven months to die. The voice in the poem is that of a hospital attendant who provided some of the tedious, technical care that kept Old Fritz alive all that time. Though Old Fritz's "animal" may have "grown / sick of the world," his "mind ground on its separate / way, merciless and blind." He endured, he kept on living. Old Fritz raged against death, although he also "whimpered" and cried "like a whipped child . . . . "
Summary:I have never written against the dead, says the narrator, but in this instance, the death of her grandfather, she must. Why? Because, ominously, "he taught my father/ how to do what he did to me." The poem moves from a startlingly literal image of nursing the nameless dead, to the pocketwatch which was sent as a memento after this particular death, to specific personal memories of mistreatment at the hands of the grandfather. The narrator cannot regret this death.
The narrator observes how her dying father is changing as he dies. She experiences the process as if she were giving cosmic birth to him,
and as if she could protect him in the safety of her womb.
This dead body is to be treated with respect, not to be left alone or to be donated to the anatomy lab, or for organ transplantation. For the narrator, there is little difference between this body of her dead father and the unconscious body she remembers from so much of her childhood. She cannot make the distinction emotionally between the dead and the living father, " . . . this was the one I had known anyway, / this man made of rich substance."
In the first stanza the speaker describes his experiences cleaning the autopsy room at night. Sometimes they left corpses or parts of corpses out on the table. Once they even left a woman's leg (he'd "seen them before").
At home, though, the speaker was so distracted by these experiences that he'd sit with his eyes closed, or stare at the ceiling, rather than interacting with his wife. He was distant and cold; she tried to warm him. His "fingers strayed to her leg. / Which was warm and shapely . . . . " But what about the woman's leg on the autopsy table? He ends with the paradox, "Nothing / was happening. Everything was happening." Life and death, beginning and end, warmth and coldness, closeness and distance, feeling and the denial of feeling: all are part of the whole.
Summary:In this avuncular poem the "recently alive" do their thing--lie "spread and silent / on the dented sink"--while the "aproned doctors" do their thing--"cut and weigh, / measuring / the diagnosis." The poem models the distance that sometimes develops between doctors and their feelings; the doctors insulate themselves from feelings. Contrast this with the protagonist of Carver's poem, The Autopsy Room (see this database; also annotated by Felice Aull).
Summary:The author will not open Gray's Anatomy again. Why? Because he sees in its plates of various organs mundane images, rather than the personal knowledge he imagined. He had "hoped someday to own" himself, but he finds that his "geography" is composed of others' names and others' history. The author is not there. You can't discover who you are by learning the parts you're made of. Or can you?