Showing 171 - 180 of 210 annotations tagged with the keyword "Nature"
When Ruth's unfaithful and unappreciative husband Bobbo calls her a she-devil, she decides to appropriate that identity with a vengeance and take a different spot in the power relations of the world. She wants revenge, power, money, and "to be loved and not love in return"(49). Specifically, Ruth wants to bring about the downfall of her husband's lover, Mary Fisher, a pretty, blonde romance novelist who lives in a tower by the sea and lacks for neither love nor money nor power.
Ruth commences her elaborate revenge by burning down her own home and dumping her surly children with Mary and Bobbo. She continues on a literally shape-shifting quest in which she changes identities; gains skill, power, and money; and explores and critiques key sites of power and powerlessness in contemporary society, including the church, the law, the geriatric institution, the family home, and (above all) the bedroom.
By the end of the novel, Ruth achieves all four of her goals in abundance. Her success, however, raises complex ethical questions, not only because she uses the same strategies of manipulation and cruelty of which she was a victim, but also because of the painful physical reconstruction of her body that is the tool of her victory.
A young boy tells us, "My cat Barney died last Friday. I was very sad." Barney's mother suggests he think of ten good things to tell about Barney at his funeral. The story details his feelings and, from his perspective, the way his parents and friend Annie deal with the loss, ritual of burial and questions of afterlife (heaven, Barney's whereabouts now).
After the funeral, and after helping his father in the garden, comes a new and comforting understanding--the tenth good thing is that Barney's body becomes part of the cyclical process of nature. Fertilizing trees, grass and "helping grow flowers," the boy tells his mother as she tucks him into bed, is "a pretty nice job for a cat."
Joe and Mary Wilson live an isolated life in the outback of New South Wales. Their infant son Jim begins to "take convulsions." Jim turns into a sickly child who appears to be "too old fashioned" to survive in this word. After the three-year-old boy has spent a month with his mother's sister, he and Joe begin the two-day trek home. The boy becomes ill while they are camping overnight, and Joe, terrified that his son is going to die, carries him to "Brighten's sister-in-law," who lives in the only homestead in the area. She nurses the boy, who survives.
Joe and Mary Wilson move from the little outback town of Gulong to the bush at Lahey's Creek. Mary becomes depressed over the drudgery and isolation of the place. The closest neighbors are the Spicers, dirt poor folks with a whole passel of children.
Mr. Spicer is usually on the road. Mrs. Spicer tries to maintain some beauty in her life by growing geraniums in the desert. At first she visits the Wilsons frequently, but soon she becomes reluctant to visit because she gets melancholic when she goes home. She tells Mary that the land has broken her--she is "past caring." At the end she dies in her bed. The last thing she tells her daughter to do is to water the geraniums.
Poetry is a natural medicine . . . Poetry helps us feel our lives rather than be numb. So begins John Fox, a Certified Poetry Therapist whose aim in this book is to help the reader see the profound relationship between creativity and healing, and to nudge the reader gently into making his or her own poems.
Fox grounds his work in narrative--stories of suffering persons who were able to transform their experience by writing poems. He illustrates the text with the poems of these persons, as well as those of well-known poets from King David to Lucille Clifton.
Fox carries the reader from the silence that leads to poetry (Chapter 1, "Heart, Who Will You Cry Out To?") through the elements that go into writing (Chapter 3, "Poetic Tools For Your Healing Journey") to writing about specific situations, such as illness, loss, and death (Chapter 6, "When God Sighs"). Each chapter includes a number of suggestions and exercises.
In this poignant poetic rendition of images presented to the narrator as she watches one of her body fluids ooze into an external receptacle, the reader is treated to a vivid array of symbols brought to the poet's imagination. The fluid is lymph, collected into a "little plastic pouch / hung on my side like a monkey." The poem is made up of run-on three line stanzas, flowing like the fluid--from color images, to visions of the sea, to associations with the aroma of fruit.
As the poem progresses, the narrator shifts from the reality of what it means to wear the collection device and empty and measure its contents, to the metaphors of fluid: the narrator is submerged, "I speak from inside / an aquarium," contemplates the metaphysics of the fluid milieu of the human body, "Who knows what's going on / beneath the skin. . ." And yet, the poet-narrator concludes, for their apparent significance, once the body fluids are spilled, the "gates opened," they become irrelevant as they dry into "sticky specks."
The "laboring through what is still undone" is difficult and awkward like a swan's walking. But dying is like the swan leaving dry land. The water "receives him gently" and he moves with grace. The swan appears indifferent as he "condescends to glide." [12 lines]
Through a series of letters, the lover, Werther, narrates his story of finding love and losing it. The continuity of the piece is interrupted by the third person narrator to explicate certain segments of the tale and to describe the unsuccessful suitor's suicide.
Young Werther, an artist with independent means, meets and falls in love with a woman already betrothed. The letters he writes detail the development of his relationship with Lotte and eventually with her intended, Albert. As the date of Lotte's wedding approaches, Werther leaves the area and attempts to forget her by immersing himself in the work world.
Unsuccessful, he returns to the estate where Lotte and her new husband reside. Becoming increasingly more obsessed with the need to possess Lotte, he alienates his former friends and is banished from their presence. Suicide ideation appears on multiple occasions, and in his final agony of loss, Werther borrows Albert's pistols and kills himself.
In Gain, Richard Powers interweaves two narratives. One is the story of Laura Bodey, a forty-two-year-old divorced realtor with two adolescent children, who lives in the midwestern U.S. town of Lacewood. Sometime in the late 1990s, Laura is diagnosed with ovarian cancer. The account of her illness, treatment, and eventual death is set against the story of the Clare Soap and Chemical corporation, whose headquarters are in Lacewood, from its inception as a trading company at the beginning of the nineteenth century.
The Clare corporation is implicated in Laura's death: pollutants from its Lacewood plant have been associated, not quite unquestionably, with abnormally high cancer rates in the area. A class-action suit against the company succeeds, but Clare, globally powerful and massively differentiated, is ultimately immune: no matter how much we might sympathize with individual members of the Clare company (and Powers ensures that we do), the corporation has become a kind of monster beyond human control.
Margaret is a sculptor whose detached and unaffectionate physician-husband has just exited their marriage. Depressed, she is in dire need of work to survive and to cover the costs of urgently needed dental work. She gladly accepts a museum commission to recreate a life-sized likeness of Lucy, the Australopithecus afarensis hominid.
The plan is to reconstruct the body using casts of the fossil bones and to depict a single moment in Lucy's past, as captured by the fossilized Laetoli footprints. Made by a hominid pair, the prehistoric footprints show how the smaller creature--Lucy--hesitated in her unknown journey 3.6 million years ago.
As Margaret reassembles her ancestor and situates her plausibly in that mysterious moment, she rediscovers her own animal body, its senses, needs, and beauty--and she begins to reassemble her life.
In the end, she appears to find love and joy with a musician whom she first encounters on a purely physical basis. Yet she is comfortable with an ambiguous future.