Showing 141 - 150 of 1139 annotations tagged with the keyword "Human Worth"
This is an anthology of poetry by poets who have disabilities. The book's sections are ordered more or less chronologically, although the editors have identified other groupings as well: "The Disability Poetics Movement," "Lyricism of the Body," and "Towards a New Language of Embodiment." Also included is a well organized preface by editor Jennifer Bartlett and an informative "Short History of American Disability Poetry" by editor Michael Northen. An essay by or about each poet prefaces that poet's work. The book makes no pretense at being comprehensive but offers a large selection of poets with a variety of physical impairments (e.g. cerebral palsy, rheumatoid arthritis, dystonia, blindness, deafness, Parkinson's disease, multiple sclerosis, stroke). It presents important figures who have contributed to current thinking about the disabled body and social and physical constraints imposed on it, as well as poets who do not/did not identify themselves as disabled in their work.
The first section, "Early Voices" presents poets no longer alive who wrote in the mid to late 20th century and rarely forefronted their disability (Larry Eigner, Vassar Miller, Robert Fagan, Josephine Miles-- and Tom Andrews, who DID write about his hemophilia). Their work took place mostly during a time when disability was stigmatized and kept hidden. Michael Davidson's essay on Larry Eigner's work is particularly informative, showing how the poet's severe cerebral palsy, which kept him housebound, pervaded his work although he made no overt reference to his condition.
"The Disability Poetics Movement" highlights poets ("crip poets") who openly celebrate their unusual bodies. These are poets who emerged shortly after passage of the Americans With Disabilities Act in 1992. Some, such as Jim Ferris, Kenny Fries, Petra Kuppers became disability rights advocates and educators in the field of disability studies. Editor Michael Northen speculates that Fries "may be the single most powerful representative of this group" because he rejects both the medical and social models of disability and is "asking instead for a redefinition of beauty and of the way that disability is perceived" (20-21). Other poets in this section are Daniel Simpson, Laura Hershey, Jillian Weise, Kathi Wolfe, and John Lee Clark.
Ten poets contribute to the section, "Lyricism of the Body," most of them unknown to me (Alex Lemon, Laurie Clements Lambeth, Brian Teare, Ona Gritz, Stephen Kuusisto, Sheila Black, Raymond Luczak, Anne Kaier, Hal Sirowitz, Lisa Gill). Their prefatory essays are particularly helpful in providing context for their work. The final section, "Towards a New Language of Embodiment," is more experimental than the rest of the collection. "Rather than explaining an individual story, bodily condition is manifested through the form" (17). Poets are Norma Cole, C. S. Giscombe, Amber DiPietra, Ellen McGrath Smith, Denise Leto, Jennifer Bartlett, Cynthia Hogue, Danielle Pafunda, Rusty Morrison, David Wolach, Kars Dorris, Gretchen E. Henderson, Bernadette Mayer.
Summary:A Natural History of the Dead is a story in The Complete Short Stories of Ernest Hemingway. It is divided, by subject and style, into two parts, the first part of which reads like non-fiction and the second a short story, or the nidus of one.
The story of race-car driver Denny Swift, as told by his appealing dog, Enzo, is his death-basket memoir. Denny’s tale of woe seems endless. His wife, Eve, dies of a brain tumour and he is in a struggle with her parents for custody of his daughter Zoë. Making matters worse, he is falsely accused of raping a minor by a 15 year-old who has a crush on him.
Enzo would love to intervene. However, he is frustrated by his inability to speak and his lack of opposable thumbs—but he sees clearly the worth of his master and the need for careful perseverance—like racing in the rain.
Mija, a 66 year-old woman, is raising her daughter's grumpy teenaged son and trying to make ends meet with a part-time job as a maid for an elderly, wealthy man who has suffered a stroke.
Helga Crane is a beautiful young teacher in Naxos, a southern American boarding school for black students. She is half Danish on her mother’s side, half African-American on her father’s side. Her only family is an aunt and uncle in Denmark.
Dr. Anderson, a distinguished black teacher professes love for her, but she feels stifled by him and the vision of their life ahead. She quits her job and flees to New York and the exciting cultural life of Harlem.
She thrives in that environment and men flock to her. There she meets James Vayle whom she likes and the Reverend Pleasant Green whom she does not—but once again, when Vayle proposes permanence, she flees to Copenhagen.
There, she spends an extended visit with her Aunt Katrina and Uncle Poul. At first the Danish couple are startled by her blackness, but they quickly adapt and enjoy the elevated status conveyed by having this intelligent, beautiful black woman in their world. Upon receiving another offer of marriage, Helga grows suspicious of her family’s use of her and flees once again.
She returns to America where she marries the Reverend Pleasant Green, although she doesn’t love him. As babies come in succession, Helga develops severe post-partum depression.
Aminata Diallo, called Meena, is born in mid-eighteenth-century Africa and leads a happy life with her Muslim parents. Her mother is a midwife and is teaching Meena her skills. But ruthless white men appear, killing her parents and imprisoning her. The eleven year-old girl is forced to march miles and miles to the sea. During the journey she makes friends with Chekura, a slightly older boy who seems to be employed by the white captors, but like Meena, has also been captured. They are kept at a fort, then herded on to ships and taken on an agonizing journey across the ocean.
Meena and Chekura are sold as slaves. They lose sight of each other and live on plantations in privation and squalor never knowing if they will be treated with kindness or cruelty. Meena is raped by an owner. She learns how to read and write English quickly (although her skill must be kept secret), and she is fascinated by maps, constantly plotting to return to Africa.
Meena and Chekura find each other and marry secretly - but soon they are separated. She has a baby girl. Her literary and midwifery skills are her salvation, and eventually she is sold to a Jewish duty inspector. He and his wife treat her well, and she and her child live in comfort, but the revolutionary war disrupts their world. Meena returns home one day to find that the Jewish couple have fled on ship to England, taking her daughter with them..."for her own good."
Meena moves to New York City, taking a room in a hotel and still intent on finding a way back to Africa. She writes the names and ages of the people clamoring to go to Nova Scotia as a reward for serving the British in the Revolutionary War: the original "book of negroes." The settlers arrive with hope and optimism, but they encounter more oppressions. Later she is lured by the attractive plan to build "Freetown" in Sierra Leone; again however, the promised resources never materialize and the fledgling community degenerates into crime and misery. Even Meena's attempt to find her original home is thwarted.
In 1802 London, as a frail elderly woman, the abolitionists treat Meena with reverence and curiosity. They encourage her to write her story, and there she finds her daughter again.
Two novellas are brought together. In the first, “Storm in June,” a host of people flee Paris in June 1941- -as the Germans occupied the city. They gather their money and most precious belongings and leave their homes, reasoning that there will be more safety in the countryside. But everyone has the same idea. The crush results in shortages of fuel, food and accommodation that radiate in ever widening ripples around the city. Many are duped by employers or by lovers. Some are robbed and even murdered by unscrupulous fellow citizens, and new conventions of behavior and bureaucracy are forged in the stress of the situation. The fortunes of several different individuals are interwoven in short chapters to explore a wide variety of adventures--tragic, miraculous, and poignantly banal. Among the most memorable is the little saga of the Michaud’s – a couple driven out of Paris, then back – all the while anxious for news of their son at the front.
The second novella, “Dolce,” is the story of the unhappily married Lucile whose husband has gone to the front. She must bide time in the home of her austere mother-in-law, Madame Angellier, who treats her with frank hostility. They are forced to billet a German officer. Lucile soon finds that she and the German share many interests in art and music; gradually the two fall in love, although they act upon their sentiments in conversation only. The full extent of their involvement must be concealed, but the community is aware and Lucile understands the potential consequences of “sleeping with the enemy.” Her mother-in-law hates her all the more for growing close to the occupier; yet their neighbours shamelessly prevail upon her connections to obtain minor favors.
When a local Frenchman kills a German soldier for allegedly courting his wife, the uneasy calm is destabilized. Almost by default, Lucile agrees to hide the fugitive murderer in her attic in bold proximity to her German tenant. The brave act is discovered by her mother-in-law who then (wrongly) perceives Lucile’s friendship with the German as a clever plot; her hatred turns to grudging admiration. Using her influence and a lie to obtain a pass from her unsuspecting German friend, Lucile escorts the ungrateful murderer to safety in Paris. The deception drives a wedge into her new relationship. They part never to meet again as his company is transferred to another place.
Zol Szabo, is public health doctor for the Hamilton Ontario region. He is also a single parent to nine year-old, Max, because his wife could not deal with Max’s mild physical disability. He is dating Colleen an attractive woman detective whom he met in the previous novel. The story opens with Zol’s angst over his son’s expensive misuse of a cell phone that he’d been given for safety reasons.
Soon he and his team are investigating cases of diarrhea in a seniors’ residence. The diagnosis is difficult—but the doctors are confident they know what it is; however, the recommended treatments prove ineffective. Gradually they begin to suspect that the drugs are not working because they might be fake. Even worse, they notice that the people infected are all taking the same arthritis medicine—could that drug be the source of the infection?
In the background an unbending hospital administration and a hostile boss make the situation even worse.
A team of elderly friends who reside in the senior’s home collaborate to help solve the mystery. And of course the son’s cell phone is crucial to the dramatic conclusion.
In this tale, told by an aging Silvio, Jean the miller dies mysteriously in the river at his mill leaving his young wife, Colette, and a little boy. Was it suicide or murder – and why? Colette is the daughter of Helene Coudray, a woman Silvio once loved and still admires deeply, although she married François. They remain good friends.
Silvio is also friendly with Brigitte. She is known to all as the adopted daughter of Helene’s late unmarried sister, Cecile. Brigitte married a much older landowner who dies, leaving her well off, and free to marry handsome young Marc Ohnet. But news of the engagement devastates Colette. Suddenly it is clear that her child was Marc’s– and that it was Marc who killed Jean, possibly by accident. Colette’s angry father wants to press charges against Marc for killing his son-in-law. But Brigitte reveals that she is the biological daughter of Helene and Silvio; Marc is to become another son-in-law.
The apparently worthy Helene has deceived both her husband and her old lover, Silvio, by concealing Brigitte’s existence and identity. She also abused the goodwill of her sister who cared for her child.
During World War II, a man is found beaten and unconscious in the streets of Trieste and brought to a German hospital ship. The Finnish-born doctor serving the German naval forces recognizes the name on his uniform as that of a vessal originating in Helsinki, the “Sampo Karjalainen." When the man wakes up, he has total amnesia; his memory loss has extended to language. In a crazy gesture of compassion, the doctor arranges for the man to be conveyed across war-torn Europe and home to Helsinki to be tended by a specialist. The doctor hopes that exposure to his homeland, its culture, and especially its language, will help the recovery of the man now called Sampo. They never see each other again.
Isolated and confused, Sampo, is given a bed in an empty visitors' ward of the hospital. The much awaited specialist never appears and Sampo never understands why. His closest friend is a tippling priest who teaches him Finnish through a reading of the Kalevala legends, libated with shots of Kosenkorva. He befriends some Russians who are housed briefly in his ward and he contemplates the hostilities between the nations. He wanders the city of Helsinki looking for triggers that may hand him back his identity – his past, a narrative. One of the nurses takes an interest in his case, shows him a special memory tree in a Helsinki park – and accepts his rejection of her affection with good grace. She is transferred to another place, but writes to him. He is unable to respond. She is angry.
In desperation Sampo joins the Finnish army and leaves for the eastern front. An epilogue tracks his demise and the doctor’s later discovery of his massive error.