Showing 131 - 140 of 514 annotations tagged with the keyword "Memory"
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.
The idea for this anthology of poetry and prose about Alzheimer's disease patients and their caregivers arose from the editor's own experience writing about her mother. Encouraged by Tess Gallagher, Edward Hirsch, and others, Holly Hughes invited writers to contribute poems and short prose pieces that witnessed to the human experience of Alzheimer's disease. The resulting anthology includes about 120 pieces chosen from over 500 submitted. The editor has arranged these in a series of thematic sections, one of which, "Missing Pieces," contains the nine prose contributions to this primarily-poetry anthology. At the end of each work, the author has provided the reader with a brief (two or three sentence) comment on the circumstances that led he or she to write it. Tess Gallagher's Foreword describes her experience living with, and caring for, her mother who suffered from Alzheimer's disease, two "widows together" (p. xv), during the months and years after Raymond Carver's death (Gallagher was married to Carver).
The works address an array of closely related themes in a wonderful variety of voices. A major focus is the Alzheimer's patient's slipping away, withdrawing, changing, whether it be toward dissolution, or into a different country. Sometimes the change reveals "your true life: / the bright unruffled water, / a sudden lift of wings," as in Linda Alexander's "Your True Life" (p. 23). Sometimes life has fled elsewhere, as in "No Destination" by Penny Harter (p. 67), or gradually dissolved ("Verbal Charms" by Melanie Martin, p. 41). Other poems evoke the unexpected and sometimes humorous antics of the demented. Witness, for example, Len Roberts' "My Uncle Chauncey Drove My Aunt Eleanor" (p. 36) and "Early Alzheimer's" by Sheryl L. Neims (p. 55). Another theme is the loving commitment of spouses who are taking care of a demented partner so many years after saying "I do" "This is what you signed on for / in such bodily earnest before the distractible / justice of the peace 64 runaway years ago" (E. A. Axelberg, p. 79). Parent-child relationships also take on new meaning, as in the touching poems "Bath" by Holly Hughes (p. 119) and "Pacific Sunset" by Arthur Ginsberg (p. 127). Finally, the inevitable themes of death and mourning pervade the anthology's last section entitled, appropriately, "Still Life."
Summary:South Africans, Paul and Andrea, are lovers living in France. Paul is fiftyish and white; Andrea is thirty and “coloured.” He has just asked her to marry him. She travels to Provence ostensibly to research sites for a film to be based on Paul’s endlessly forthcoming novel about fourteenth-century plague. But the real reason for the journey is to test her feelings about his proposal—she is leaning to ‘yes.’
Summary:Elegy is a poetic journal, comprised of 64 short poems, describing the year following the poet's son's death. Ms Bang's 37 year old son, Michael Donner Van Hook, died in June 2004 in lower Manhattan of an overdose of prescription medications. Giving herself a year to write the poems in Elegy, Ms Bang submitted many of them individually and then published them in the current monograph form in 2007.
Summary:Suzanne Poirier has studied over 40 book-length memoirs describing medical training in the United States. These texts vary in format from published books to internet blogs, in time (ranging from 1965 to 2005), and in immediacy, some reporting during medical school or residency while others were written later--sometimes many years later.
Summary:A tightly walled cube-shaped block of buildings seemingly made of child’s building blocks looms in the midst of a barren foreground of stony rubble and a background of hazy nondescript sky. No sign of life, human or vegetation, anywhere. Entirely in shades of muted yellow, orange, ochre and brown, coloring suggestive of a crematorium, the canvas reeks of desolation.The only window into the tomb-like image, seen from above, is a carved cut-out star of David through which can be glimpsed a more detailed view of the abandoned ghetto. Barely visible, a pale yellow cloth remnant of the star of David stitched to their clothes to identify Jews sits atop one of the rooftop slates.
Summary:Born in 1921 in Belarus (White Russia), the author lost his father (a doctor) as a baby and was raised by his mother who worked as a surgical nurse and midwife. He excelled in school and was on the verge of entering medical school, but the political upheaval of World War II drew him away from studies.
Summary:Thirteen-year-old Matilda lives on a south Pacific island with copper mines. Rebels and other more official warriors are tearing the place apart. A blockade has made resources scarce and communication impossible; fathers are absent at distant work. Along with everything else, the local school collapses.
Summary:Desmond Bates is a retired professor of linguistics who lives with his second wife, "Fred," in a "northern" British town. He is becoming increasingly deaf, and, although he wears hearing aids (except when he doesn't), his social interactions--even those with Fred--are fraught with difficulty and occasional hilarious misunderstandings. His deafness is at the center of the novel, providing the title of this work of fiction, but also serving as an extended, often funny, but ultimately serious impetus to riff on aging, disability, and mortality. "Deafness is a kind of pre-death, a drawn-out introduction to the long silence into which we will all eventually lapse" (19).
In this and other works, French artist Suzanne Valadon steps outside the boundaries established for women artists in the male-dominated world of art. Portrayal of the gazed-upon female nude was reserved for men who conventionally painted them as objects: ageless, beautiful, seductive, passive, and vulnerable. Women painted flowers and children, not nudes.
Not only does Valadon violate traditional expectations, she presents an adolescent nude who, like most adolescents, is self-absorbed with her appearance. She is not positioned for the viewer's gaze, but for her own self-appraisal. The pubescent child/woman sits at the edge of the bed intent upon her own image in a handheld mirror. In contrast, a fully clothed woman, probably her mother, sits behind her on the bed gently towel-drying the girl's shoulder and arm.