Showing 141 - 150 of 522 annotations tagged with the keyword "Mourning"
This is the story of an adult brother and sister whose lives are indelibly marked by the deaths of their parents, killed in a car accident when the children were young. Set in the small town in upstate NewYork where they grew up, the film centers on a visit by Terry (Mark Ruffalo) to his older sister Sammy (Laura Linney). Portraying the vicissitudes of their relationship, the film traces the effects of loss on these two compelling individuals.
The film opens uncoyly with the scene of the parents' fatal car accident. Beneath the credits we watch the church-funeral, the two small children clutching hands while a Minister addresses the assembled.
When the story picks up, we are introduced to the lives of the now adult siblings. Sammy is still living in their parents' home, working in a local bank branch office and raising her son Rudy, a somber eight-year old who is becoming curious about his estranged father. Rudy, at eight, is the age Terry was when their parents died. Sammy is a reliable, loving mom, but otherwise her life appears constricted.
We find Terry, the younger brother who is now twenty-five years old, saying goodbye to a much younger girlfriend; he is leaving to borrow some money from his sister, whom he hasn't seen in two years. Terry, endearing but irresponsible, is leading a marginal existence, broke and unemployed, no fixed address.
A long restaurant reunion scene between the siblings reveals the texture of their relationship. We see that Sammy adores and worries about Terry; he is the light of her life. Terry conveys restless discomfort with his sister's expectations, experiencing her concern for him as a burden. He reveals that he has been out of touch because he was in prison for a while, and that he needs to borrow money to pay for a girl's abortion.
After learning that his girlfriend has attempted suicide, Terry sends her the money and decides to stay with Sammy for a while. In small increments, Terry and his nephew Rudy warm up to one another. Meanwhile Sammy's life takes an unexpected turn as she begins an affair with her controlling, married boss (Matthew Broderick); this begins just after an old flame of hers resurfaces with a marriage proposal. Neither relationship provides her much nourishment. Without easy answers, the film helps us connect the dots between Sammy's unsatisfying relationships with men and her adaptation to loss and to becoming the caretaking elder sibling.
Terry's visit goes wrong when, after a series of small irresponsible dealings with Rudy, Terry takes it upon himself to introduce the child to his estranged father, resulting in an ugly scene. Sammy, distraught, asks her brother to leave, as he "doesn't know how to be around an eight year old." The film ends with their farewell as they wait for Terry's bus out of town. Terry doesn't know where he is heading or when he'll be back. The scene presents a remarkable exchange of feelings as Terry comforts Sammy, telling her it's always good to know that she "is back here rooting" for him, and assuring her that "everything will be all right -comparatively." Sammy cannot draw him into her world or her life, and every parting with him feels permanent. They find their childhood connection in this scene--and the camera follows each of them for several beats after they separate, Terry on the bus and then Sammy driving to work. We feel them slowly absorbing the violence of severing--going back into themselves. Have they affirmed that in fact they can count on one another or reminded themselves (and us) that nothing can be counted on?
A surprise element in the movie is the character of Father Ron, a Minister played by writer-director Kenneth Lonergan. Sammy turns to the minister for guidance, seeking advice about her brother. In two surprising scenes, Father Ron injects into the narrative a sweetly earnest note regarding faith and finding meaning in our lives.
Summary:The unusual title is borrowed from Nathaniel Hawthorne's story, "The Custom House," to suggest a shift in fortune when immigrants "strike their roots into unaccustomed earth." Set almost entirely in the United States (the unaccustomed earth), eight separate stories are connected most obviously by cultural dissonances affecting characters who are Indian or have Indian parents. Three of the stories, however, are linked by a strong narrative connection that is unexpected, profound, and unforgettable.
Job, a prosperous but god-fearing man, is stricken with a series of misfortunes, losing his goods, his sons, and his health all as a result of a wager between God and Satan about whether or not a "perfect and upright" man will remain thus under relentless misfortune (1:1). As he sits in ashes, covered with boils, a group of friends come to mourn with and comfort him, sitting beside him for seven days and nights in complete silence "for they saw that his grief was great" (3:13).
Job proves a good bet by never following his wife's advice to "curse God and die," but he does deliver a series of lamentations and questions about his condition, countering his friends' theories about the possible causes (unacknowledged sin, primarily) for his troubles and finally asserting his desire to speak directly to God and ask Him the reason that a good man has been burdened with a host of sorrows (2:9). Job's friends, including a fourth speaker, Elihu, who was probably added into the text by a later writer, reprove him angrily.
God appears suddenly and speaks to Job from within a whirlwind, ending Job's complaints with his chastening response. Rather than offering a rationale for Job's suffering, God reminds him of the limitations of a human perspective. Ultimately God rewards Job and reprimands Job's friends.
Summary:After several years as a firefighter, Paul Austin decided to return to school and become a doctor. Both his training as firefighter and a somewhat late start at medical school gave him an unusual perspective on his selected specialty-emergency medicine. The book chronicles a wide variety of surprises, learning moments, and challenges from his years in the emergency room. These are interspersed with vignettes about the interrupted home life of an emergency physician rotating into night duty three to four times a month. The pace is lively and the stories confessional in the best sense-rich with reflection on what he has learned, often at great cost to his resilient wife and three children, one with Down syndrome. A strong theme in the book is the importance of developing strategies for sustaining humanity and compassion even under intense pressure to be quick, clinical, and detached.
Summary:A Place Called Canterbury by social historian Dudley Clendinen, former New York Times national correspondent and editorial writer, provides readers with an intimate and revealing account of aging in a particular place at a particular time--Canterbury Tower in Tampa, Florida. The story about the author's mother, Bobbie--and so many others--begins in 1994, a few years after the death of James Clendinen, Bobbie's husband of 48 years, and known to the community as the progressive editor of the Tampa Tribune. Although she had been "falling apart, a piece here, a piece there...collapsing vertebrae...bent, frail, and crooked...subject to spells and little strokes...." (p. xii),
Summary:"Every year I bury a couple hundred of my townspeople. Another two or three dozen I take to the crematory to be burned.... I sell caskets, burial vaults, and urns for the ashes.... I am the only undertaker in this town." The speaker is Thomas Lynch, a poet, writer and funeral director in Milford, a small town in central Michigan, where he and his family have cared for the dead and the living for three generations. The words are the introduction to a documentary film which was written, produced and directed by Miri Navansky and Karen O'Connor for PBS Frontline and which is a visual, aural and dramatic companion to Lynch's award-winning collection of essays, The Undertaking: Life Studies from the Dismal Trade (see this database).
Summary:The poem begins, "Somebody who should have been born / is gone" and this phrase is a refrain intercalated between two sets of three tercets, with a final closing tercet. Each tercet has a rhyme scheme of a, b, a. The speaker narrates a journey that takes her south to an abortionist in the mountains of Pennsylvania, and then, after the abortion, back home to the north. The situation and the speaker's perception of it are rendered in metaphors that draw on the natural environment through which the journey proceeds. At the beginning, the earth puffs buds, and the drive proceeds toward blue-green mountains -- metaphors of fecundity. The description of the mountains as "humps" might imply the sex act that initiated pregnancy.
Summary:Because he can't reach the hospital in a winter snowstorm, Dr. David Henry ends up assisting his own wife in the birth of their twin children at his clinic with the help of his nurse, Caroline. The boy is fine; the girl has Down symdrome. While his wife is as yet unaware, he gives the girl baby to Caroline to take to an institution. Norah, his wife, remains unaware that she give birth to two children, yet is haunted by some sense of loss she can't name. Caroline, unable to leave the baby in an unappealing institutional setting, makes a snap decision to keep her. She leaves town, renewing communication later with the baby's father, and raises her as a single mother until she meets a man who is willing to marry her and love Phoebe as a daughter.
Summary:This award-winning collection, published when the author was in her late 80s, contains 96 poems, most of them no more than one page in length. These poems are complex, interesting, surprising, and full of the pain of life. Stone has suffered and she does not hesitate to dwell on the causes of her suffering but she is not maudlin--she has lived and thought about life and she shows us how she lives and thinks.
Summary:In the Arctic, winter goes on for ten months every year. The cold temperatures penetrate every aspect of human life. Existence is a struggle. In the Canadian community of Rankin Inlet, an Inuit woman finds personal tragedy as abundant as the snow. Victoria is diagnosed with tuberculosis (puvaluq) as a child and sent to a sanatorium far south of home. Following treatment with medication and a thoracoplasty, she returns to her town years later. Victoria's experience has changed her view of the world but she quickly discovers that in her absence, the people and locale have transformed too.