Showing 171 - 180 of 525 annotations tagged with the keyword "Mourning"
Summary:This remarkable collection of short writings, introduced by renowned poet Naomi Shihab Nye, who visited the Sutterwriters (of Sutter Hospital in Sacramento, California) to offer a workshop, provides a broad, compassionate, imaginative window into the life inside and around an urban hospital. Patients, staff, and all interested in healing through writing are invited to come and participate-with an accent on the latter: no one is invited who isn't willing to write.
Summary:Sixteen-year-old Angelina Rossini tells the story of the year her father died. A lively, opinionated, attractive sixty-nine-year-old Italian happily married to a forty-two-year-old English woman, he has hardly been an inconspicuous presence in the small town of Blodgett, Vermont with a population of 854. Angelina, the only child of this second marriage, loves her father dearly, though she rolls her eyes at his eccentricities, and knows herself to be fortunate in both parents, though they're older, and her mother somewhat less expressive, than she would choose. Her best friend, Jax, belongs to a very different family, large, blue-collar, partly French Canadian. Though she and Jax have been friends since kindergarten, and though she has known for some time that he is gay, her love for him sometimes spills over into desire. They talk about this, as they do about everything else, though this subject is a little tenderer than most. When a girl who has been aggressive and unfriendly suddenly reveals her own same-sex desires, Angelina is able to handle her awkward revelation with compassion.
Summary:At fourteen, China Cameron is trying hard to be a good mother to her two-year-old daughter, conceived while China and her best friend, Trip, were "fooling around" at his house one day. Trip and China's disabled Uncle--her only parent since the death of her mother and her father's early abandonment-do all they can to help her stay in school and parent well. But the child contracts a respiratory infection and dies, leaving China not only devastated, but responsible for a large funeral bill: she insists on ordering the most beautiful casket in the catalogue and funeral services that turn out to be devastatingly expensive. To pay the bill, against the advice of Trip and her uncle, China begins working at the reception desk of a local "gentlemen's club."
Maren Grainger-Monsen, a filmmaker and emergency medicine physician, chronicles her personal journey towards understanding death and dying as she explores the stories of those near death. The film uses a metaphor of the thread of life, and the three Greek Fates who control life (spinning, measuring and cutting this thread), to interweave Monsen's journey with the lives--and deaths--she encounters.
The film begins with her recollection of two experiences during her emergency medicine training: the first time she is paged to pronounce someone dead and a "crisis point"--resuscitating a patient, brought to the emergency room, who had specifically requested no resuscitation. The remainder of the film focuses on Jim Brigham, a social worker for a hospice program, whom Monsen joins for his home hospice visits and who relates the touching and memorable story of his wife's life and death.
Some of the patients Jim visits are Tex, a man dying of heart failure who had experienced a difficult, scary night; Sean, who has Lou Gehrig's disease and who needs help with paperwork and family concerns; and Anna Marie, who has lymphoma and is taken via ambulance to the hospital for comfort measures. Monsen notes how comfortable Jim is discussing death issues and how compassionate and caring he is with a recent widow in the midst of her "grief work." By contrast, Monsen admits to feelings of helplessness, vulnerability, even terror. She wishes her medical education had not been so devoid of teaching regarding death and dying.
Monsen comments on the wavering line between life and death, and whether the "medical machine" prolongs life or death. She visits a young boy left with severe brain damage following a near-drowning incident and "successful" resuscitation 5 years previously. The boy requires constant care, but his father notes that his son is "doing pretty good."
By the end of the film, Monsen has learned "how to sit with someone . . . while death walks into the room." Death no longer equates with failure. She concludes with her overvoice, "I wonder what it will be like to be a doctor who doesn't see death as the enemy."
Summary:West coast dancer John Henry made his life the subject of his final performance. Choreographer Bromberg and film maker Rosenberg collaborate with Henry in the creation of a work for the theatre based on his desire to leave an autobiographic legacy. Filmed during the last few years of Henry's life with HIV/AIDS, the documentary examines the image of self as one individual prepares to separate from body and personhood, and continues after his death.
In the Springtime of the Year opens with the death of Ben Bryce, a young man in his 20's whom we only get to know posthumously but one who has clearly left his imprint on all who knew him. Dying as a result of a freak accident--an apparently healthy tree suddenly falling on him--Ben, as a friend notes, "had been at one with things" (62). The death, happening so unexpectedly and to such a young man of promise, leaves his small rural English community eerily stunned. "People felt changed, as by war or earthquake or fire, even those who lived closest to death and knew its face" (56). As Moony, the same friend, remarks to himself, "it was no ordinary death" (63). Ruth--his young wife--she is 7 or 8 years younger--begins a grieving process that occupies the rest of the novel, beginning with the news of her husband's death in early March until the last page in December.
Although the attention the author pays to Ruth's grief is extraordinarily close, there are other events external to her grief that occupy her and the reader's gaze. Ben's family is equally devastated but hampered in their effort to perform grief work by an egoistically blinkered and unimaginative, selfish mother who has ruined her grown daughter's life, stultified her husband's, and only failed to affect her two sons, Ben and Jo, by dint of their physical and mental exodus, respectively, from the household. Jo, at fourteen (he was exactly half Ben's age at the time of the accident) is precociously generous, supportive of Ruth, and self-sufficient. Indeed, he is the most wise character in the book.
Ruth's attempt to make sense of her husband's tragic death; the usual small town happenings in the village; and Ruth's eventual emergence from her grief, partly as a result of her helping others suffering these small town hardships--all form a tightly knit story that centers around grief, tragedy, and humans' attempt to impose meaning on life's often unfairly dealt hand.
Summary:One of Gilbert and George's very few specific portraits, this is a collage of images culled from their photographs of their friend David Robilliard. Its title, "A.D.", can be taken to mean "Anno Domini" or "After David" or, as the artists suggest, "AIDS David". It is at first an extraordinarily ugly piece, even by Gilbert and George's standards: the uniform flesh tone with pearly globules of moisture (sweat, semen), broken up by the black of shadows, the black bristles of stubble, and the black grid. The image looks like it emerged from one of William S. Burrough's novels, a nightmarish combination of mouth, orifices, bodily cavities.
This powerful book of black and white photographs contains four sections labeled: I. The End of Manual Labor, 1986-, II. Diverse Images 1974-87, III. Famine in the Sahel, 1984-85, and IV. Latin America, 1977-84. In addition, photographs accompany the prose-poetry opening essay, "Salgado, 17 Times," by Uruguayan writer Eduardo Galeano and the concluding essay, "The Lyric Documentarian," by former New York Times picture editor Fred Ritchin. This oversize book concludes with a list of captions for the photographs and a detailed two-page biography of Salgado. Essentially the photographs cover Salgado’s impressive work from 1974-89.
Every image is of a person or people. Many are suffering, many are starving, grieving, keening, dying, displaced. Many are children. Many are laboring under impossibly harsh conditions such as the teeming, mud-coated manual laborers of the Brazilian Serra Pelada gold mine. An Ethiopian father anoints the corpse of his famine starved, skin and bone child with oil. An old man, squinting in the sun, leans over to touch the arm of an equally thin and weak man in a Sudanese refugee camp. Rarely, the people are smiling or celebrating.
The photographs are global: Angola, Bangladesh, Bolivia, Brazil, Chad, Cuba, Ecuador, Eritrea, Ethiopia, Mali, Mexico, Portugal, Sudan, Thailand, and more. As Galeano notes, "This much is certain: it would be difficult to look at these figures and remain unaffected. I cannot imagine anyone shrugging his shoulder, turning away unseeing, and sauntering off, whistling." (p. 7) [156 pp.]
Summary:Three skeletons in black robes are busy in the task of watering and taking care of various plants. The skeleton in the foreground holds a green watering can, faces to the left, and walks behind a wooden construction of some sort. Behind him another skeleton clutches a stalk of blue flowers to his chest. In the background, the third skeleton faces away from us, apparently busy with some task at hand.
Summary:Sarah and Peter Bedford are sailing with their parents off the coast of Indonesia when the tsunami strikes. As they attempt to escape, their father breaks his leg. Their mother insists the children run ahead, so they do, up the hills into the jungle. Sarah later finds her mother, dead, on the beach, but not her father. Peter is soon running a fever and Sarah embarks on an arduous overland journey to try to get him help. At the same time Ruslan, an Indonesian boy, has taken his own escape route out of his village, and is looking for his father, along with many who are searching for missing relatives. Ruslan and Sarah recognize one another when their paths cross, as he had waited on her family on an earlier stop in his village. Together, with a few other refugees, they make their way to another village where Peter may be able to receive help in a makeshift hospital. Ruslan is threatened by an additional danger, since his family are partisans in a local conflict, and he is suspected of activity on behalf of the rebels.