Showing 131 - 140 of 331 annotations tagged with the keyword "Marital Discord"
The time is 1963; the place, Port Elizabeth, South Africa. In their lower middle-class home, Piet Bezuidenhout and his wife Gladys are waiting for friends to arrive for dinner. Piet is an Afrikaner man who hasn't achieved much in life, but has found sustenance and meaning in liberal politics. His wife is a South African of English descent, who, we later learn, has recently returned home from being hospitalized for a nervous breakdown. Visible on the stage (or at least to the protagonists) is Piet's collection of indigenous aloe plants. He is attempting to classify a new aloe that he has just found, but which doesn't appear to fit into any of the listed species.
Their awaited guests are Steve Daniels and his family. Steve, a colored man whom Piet met in his political work, was recently released from jail, where he had served time for "subversive" activities. We learn that Steve has obtained a one-way exit permit; the following week he plans to sail with his family to England. When Steve finally arrives two hours late (and a little worse the wear from drinking), it turns out that his wife and children stayed home. In fact, everyone in the movement, including Steve's wife, believes that Piet (the white man) is an informer.
As the two old friends begin to talk, the conversation becomes painful; they circle cautiously around important personal questions. Was Piet really the informer? What happened to Gladys that caused her nervous breakdown? And, finally, why has Steve decided to give up the political struggle and go into exile?
Hurston's powerful, lyric second novel centers on Janie Crawford, an African-American woman who tells her life story to her friend, Phoeby. Janie, raised in rural west Florida by her grandmother, is forced to marry, at age sixteen, a landowner, Logan Killicks. Far from giving her stability and respectability, Killicks instead treats her like a mule. Her image of love and life as a beautiful blossoming pear tree that grew in her grandmother's yard is dashed by the harsh realities of this loveless marriage.
She leaves Killicks to marry Joe Starks, an ambitious businessman who builds and becomes the mayor of an all black town. Joe also treats her as property--as a showpiece to bolster his image in the town, and does not allow her to befriend any one else. When Joe dies after seventeen years, Janie is finally financially and spiritually independent.
She falls in love with a young roustabout, Tea Cake--a man who (mostly) treats her as an equal partner and who returns her love fully. Despite the townspeople's disapproval, Janie and Tea Cake leave the town to make their way in the Florida muck, working side by side as itinerant farm hands.
During a hurricane and flood, Tea Cake saves Janie from a mad dog, but gets bitten himself. Tea Cake later develops fulminant rabies and is too late to receive effective treatment. Tea Cake turns on Janie and she must defend herself. The novel closes back in the frame of telling the story to Phoeby, of teaching Phoeby about love: "Love is lak de sea. It's uh movin' thing, but still and all, it takes its shape from de shore it meets, and it's different with every shore." Janie, reflective, mature, and strong, has gained wisdom from her life and suffering.
This is a play about gullibility, evil, and jealousy. Iago, the embodiment of evil intent, resents not having been promoted. In the opening scene, he announces his intention to avenge the wrong done him by Othello and Cassio. He devises elaborate schemes to turn Othello against Cassio by implicating Cassio in tryst with Desdemona, Othello's bride.
The scapegoating plan works and in a jealous rage Othello smothers his beloved. When he learns he has been duped, Othello kills himself. The author of the tragic deaths, Iago, is ordered by the new general, Cassio, to torture and execution.
This is an exhibition catalogue for a show of 16 photographers who documented major topics in health over the last century. Carol Squiers, curator of the show, provides ten essays, amply illustrated by photos, on critical topics such as child labor, domestic violence, environmental pollution, AIDS, veterans of war, and aging. Some 80 per cent of the images treat American subjects.
Lewis Wickes Hine's photographs of child labor are dramatic and disturbing; these document children in coal mines, cotton mills, glass works, etc. in the first part of the 20th century. The Farm Security Administration sponsored photographers (including Dorothea Lange) to represent the New Deal Health Initiatives. Topics include farm labor, poverty in the South and Southwest, and inoculations. W. Eugene Smith created a photographic essay for Life magazine about Maude Callen, an African-American nurse-midwife in 1950s rural South Carolina.
Donna Ferrato documented domestic violence in the U.S. in powerful, personal shots, including a series of an actual attack. David T. Hanson created triptychs about environmental pollution: one panel shows a map of the area, a middle panel gives descriptive text, the last panel is an aerial shot in color. Eugene Richards spent time in the 1980s in Denver General's Emergency Room. Eleven black and white photos show the turmoil and drama.
Gideon Mendal documented HIV/AIDS in several African countries. Lori Grinker took photos of army veterans (some without hands) but also noncombatants harmed by war, including children. Ed Kashi presents images of aging Americans, rich and poor, urban and rural. Sebastião Salgado provides photos of vaccination in Africa and Asia.
Summary:Having remarried after a long and partly happy life with a woman who bore him three sons, novelist Campbell Armstrong lives in rural Ireland with his second wife. He learns that his first wife, who works in Phoenix, has advanced lung cancer and, with his second wife’s blessing, goes to spend time with her and their grown sons. In the course of that trip, he reflects on their life together, their romance, his alcoholism and its effect on their family, their move to the U.S., their losses, and the remarkably enduring affection between them and, surprisingly, between the first wife and the second.
Summary:This novel is narrated by Katie Carr, who very much wants to be a good person. She is a physician and a mother of two, and lives with her petulant husband, David. David is the author of a column in the local newspaper called "Angriest Man in Holloway". As their marriage falls apart, David undergoes a conversion at the hands of GoodNews, a young guru, and ceases to be sarcastic and angry, embarking instead on an effort to improve the world with acts of kindness. Katie is forced to consider what it means to be a good person and how that affects whether to salvage her marriage, how to raise her children and how to be the type of physician she always considered herself to be.
Summary:A foreign correspondent accustomed to global calamities now finds himself entangled in a personal disaster. Tom is a middle-aged man with a weakness for cigarettes and women but not much interest in his wife, Barbara, and their young daughter. Tom develops a nagging cough. Night sweats, bloody sputum, and weight loss soon follow. He visits multiple physicians. A chest X-ray demonstrates a suspicious "shadow." Even before further testing is performed, a distinguished pulmonary specialist tells Tom that the diagnosis is lung cancer.
In Especially Then David Moolten discovers his poetry in the ordinary, often painful, texture of childhood, adolescence, love, and marriage. Each memory becomes a small story-like poem that looks simple and straightforward at first, until suddenly the poem reveals its hidden truth. A sense of existential loss pervades these poems, as in “One morning as a man’s wife offers to fill / His empty bowl he feels suddenly desolate / For how plain he has become…” (“Cornflakes,” p. 31) But Moolten’s melancholy is sweet, rather than bitter; energized, rather than depleted; and cumulatively powerful, as “The tractor / Of memory drags on, churning its femurs, / Its numbers and dates.” (“Verdun,” p. 64)
Especially Then is ripe with traumatic events: A father’s abandonment, “During that proud, petulant year my father left / And I became a punk, nothing could touch me.” (“Achilles,” p. 17). A brother’s death: “in the shallow dark of years since / I buried my brother…” (“Pulled Over on I-95,” p. 23) Divorce, “despite the years between you / And a hard divorce, the unshrived recriminations…” (“Seen and So Believed,” p. 51) And a wife’s death, “As if his wife had always gone / By the name of death he thinks of her / Whenever he sees or hears the word.” (“In Name Only,” p. 49)
These ordinary tragedies play out against a panorama of tragedy, as evidenced in “Photograph of a Liberated Prisoner, Dachau (1945)” and “The War Criminal Gives His Testimony.” Most often, though, the world’s suffering has little impact on the way we live our lives, “Someone at the next table sighs / Over Guatemala, the tragedy / Of having read an article or watched / A TV special…” (“Who You Are,” p. 53) We go on as we always do.
Summary:Amelia Stern is an academic pediatrician in a large city hospital and mother of a bright, young son. She is deeply involved with her patients, including Darren, born with AIDS, and Sara, the malnourished child of anxious parents, both lawyers. As she struggles to answer to the demands of her work for "other women’s children," she neglects her own child and her marriage begins to fall apart. Her husband’s resentment and her own feelings of guilt come to a crisis when her son falls seriously ill while she is at the hospital.
In 1996, at the age of 31, David Biro is preparing for his specialty examinations in dermatology and is set to share a practice with his father. But he develops a visual disturbance. After repeated testing, he is found to have the rare blood disorder of paroxysmal nocturnal hemoglobinuria. The diagnosis was problematic, but the treatment choices are overwhelming. His youngest sister is a suitable donor, and he opts for a bone marrow transplant. He realizes that his decision was influenced not only by the diagnosis, but also by his personality and his reaction to the physicians.
Advance preparations are hectic and sometimes comic, especially his deposits at a local sperm bank. The pain of the transplant and the six weeks imprisonment in a small hospital room are told in graphic detail. The athletically inclined doctor suffers many complications: exquisitely painful ulcers of the scrotum, mouth, and esophagus; inflammation of the liver; unexplained fever; drug-induced delirium; weakness and weight loss.
His parents, sisters and friends leap into action to provide round-the-clock presence, but his independent wife, Daniella, resents the invasion. While David’s body is wracked with drugs and radiation, his family and his marriage are subjected to destructive forces too. Yet all--body, family, and marriage--emerge intact, though changed, by their experience.