Showing 191 - 200 of 512 annotations tagged with the keyword "Memory"
An already depressed second year medical student, Deborah, finds herself even more confused about the meaning of life after her aunt sustains a head injury and is in critical condition. Auntie Jenny’s convertible car collides with a utility pole and the impact ejects the woman (who was not wearing a seatbelt) onto the concrete road where she smacks her head. Five days later, Jenny remains in a vegetative state and connected to a ventilator. Deborah’s mother and Auntie Sal keep vigil over their unresponsive younger sister.
Deborah has been slacking – missing classes, sleeping a lot, and uninterested in most activities she formerly enjoyed. Previously she has suffered from insomnia and has fifteen barbiturate sleeping pills remaining. She questions the medical librarian as to how the drug works and the physiologic effects of an overdose. In the seventh grade, Deborah was hospitalized and out of school for one month with unexplained abdominal pain. In retrospect, her mother now admits that Deborah was likely suffering from depression as a child but no diagnosis was made and no treatment provided.
Jenny’s medical status remains unchanged. Deborah’s mother gives her an ultimatum: “You’ve got to make up your mind. The living or the dead” [p 119]. Deborah envies Jenny. No more worries about finding answers to important questions. Survival itself seems to be out of her control. Jenny’s fate rests in the hands of her close relatives who confer with the doctor about whether to continue artificial life support or “pull the plug.”
George Stewart had always loved his best friend's wife, Catherine. After her doctor husband, Jerome Martel, is presumed to have died in a Nazi prison camp, George and Catherine marry, respectful of Martel's memory and mindful of her chronic illness. The central crisis of the story, which is introduced in the first chapter, is the surprising return of Martel a decade after his death.
Martel still burns with the passion for social justice that took him to war in Europe. The long story of their lives is narrated by George through a series of flashbacks and reminiscences, in which Catherine's illness is ever present.
In the not too distant future, the morose Egyptian, Antar, works in New York City, as a home-based computer employee, monitoring artifacts which he can study holographically through cyber space. He conjures up the I.D. card of one L. Murugan, who had supposedly disappeared in Calcutta back in 1995. Murugan is/was an expert on Nobel laureate Ronald Ross, discoverer of the role of the anopheles mosquito in the transmission of malaria.
Through flashbacks to the intense week of his disappearance and to episodes in the late nineteenth century, the virtual Murugan roams Calcutta trying desperately to understand and expose a subtext of counter science in Ross's laboratory. He is joined by Urmila, a journalist whose life is endangered by their collaboration.
Murugan theorizes that Ross was sloppy, intent on fame and fortune though a simplistic rendering of the parasite-host relationship; his discoveries were fed to him by others and he was blind to the spiritualistic ambitions of Mangala, his Indian laboratory technologist. Conceiving of the powerful significance of malaria prevention and control, Mangala held different views on the purpose and means of investigating the disease and, Murugan thinks, she anticipated the later discovery of another Nobel laureate, J. Wagner-Jauregg, in the use of malaria for the treatment of syphilis. The travels of Murugan and Urmila imply that these views are still there awaiting their own discovery.
Sultana, a doctor who escaped her illiterate nomadic background to study and work in France, returns to her native Algeria when she hears of the death of her former lover and fellow physician, Yacine. She is treated with hostility, but defiantly stays in Yacine’s place at the clinic. Vincent, a Frenchman who is the baffled recipient of a perfectly matched kidney from a young Algerian woman, travels to the desert to explore the culture of this unknown person whose death has brought him back to life.
Sultana and Vincent meet through their common friendship with the furtive, questioning children, Dalila and Alilou. Vincent and Salah, Yasmine’s best friend, both fall in love with Sultana, but she seems indifferent to them. The violence and suspicion of the town leaders causes her to regress into anorexia and mutism, during which she is tormented by the horrible memory of the loss of her parents. Her three male friends and the village women help her to recover a sense of self worth, but she must flee when the leaders set fire to their dwellings. A glimmer of optimism can be found in the aspirations of the children and the solidarity of the women.
The author reminisces about her experiences teaching English literature in Iran before, during, and after the revolution and the Iran-Iraq war. Chronology is not important and the book opens near the end of her sojourn in Tehran. A small group of young women who met when they were University students gather in her home to read and discuss English literature. They wear western clothes, remove their veils, and eat sweets. Some have been in prison. They conceal their simple purpose from fathers, husbands, brothers, because their gathering to read Western fiction would be construed as an act of defiance.
In four sections, two named for twentieth-century novels and two for nineteenth-century authors--"Lolita," "Gatsby," "James," and "Austen"--Nafisi constructs a series of flashbacks that describe the events of late 1970s to the 1990s in the inner and outer world of an academic woman. The books and writers used in the section headings have walk-on parts or starring roles that jar in this ostensibly alien context. Yet, they work surprisingly well for the women students, stimulating them to think in new ways about the situation in which they find themselves. Conversely, as the students assimilate the English and American writers into their world, we learn more about their Iran.
Please note that in order to properly annotate this novel, the novel's surprise ending will be revealed here. Snowman--who used to be called, Jimmy--is a rare survivor of a dreadful catastrophe that seems to have been both the product and the demise of modern science. He lives in a tree, clad in rags, hiding from relentless heat and hoarding his precarious cache of food and alcohol, while he tries to obliterate consciousness and avoid contact with a peculiar race of beings, the Crakers. Through a series of reminiscences as he makes his way back to where he once worked, Snowman's past slowly advances to meet his future.
The world heated up to be uninhabitable desert and genetic engineering created more problems (and species! [pigoons, rakunks, wolvogs]) than solutions. People became increasingly reliant on artificial environments--both internal and external--while their purveyors--drug and technology firms--held ever greater but unthinking power. The world was divided into two: the rich, safe controlled spaces and the dangerous chaotic realm of the poor. Then an epidemic wiped out most of the human race.
Two friends are central to the story: brilliant but inscrutable Crake whose nerdy gift for science had a role in engineering the 'pure' Crakers and the horrifying world that they occupy; and beautiful, seductive Oryx whose regard of knowing innocence heaps scorn upon messy human desire and emotion. They are the Yin and Yang of the "constructed" world. Only at the end, the reader learns that Oryx was murdered by Crake, who was slain by Snowman. It seems that his arduous journey was simply to destroy the history of the events that he had written and left behind.
This documentary film is narrated by Dustin Hoffman; all other characters play themselves. Five stories (pathographies) introduced as panels from the 14-acre AIDS quilt are interwoven with each other, together with personal photos, newsreels and radio reports to recount the history of the first decade of AIDS in the United States.
Tom was a highly educated and athletic, gay man whose story is told by his lesbian friend and co-parent of his adored little daughter. Rob was a married Afro-American, I.V.-drug-user whose loving wife recounts his battle with drugs as well as his disease and who views her own HIV seropositivity as "God’s will." Jeff’s story is told by his grieving male lover over images of his once golden health.
The parents of twelve-year-old hemophiliac, David, tell the story of his entire life as a rush to consume, from his babyhood forward until the sadness of his last Christmas. The shy, handsome architect, David, is mourned by his bisexual lover, a naval officer at the Pentagon, who now lies dying with the lesions of Kaposi’s sarcoma quite visible on his face.
The narrators describe solace they derived from quilting memorial panels for their loved ones. In the final scene, the AIDS quilt lies on the Mall in Washington as names of hundreds of loved ones are read by grieving families and friends.
A three-year old girl with globular cheeks patiently allows her calligrapher father to brush letters on her face and lips, as he recounts the story of creation: "And when God saw it was good, he signed it." Gently, he turns her round to sign at the base of her neck. Several years pass with the ritual repeated, accompanied by a cheery song that had been popular when her parents were first in love.
An aunt gives her a diary (or "pillow book"), and so begins N's obsession with writing. The tender scenes are marred by the brusque visits of her father's publisher (Yoshi Oida), with whom he has a sexual relationship. Through the child's eyes, the father is forced to prostitute his body for his written work.
Grown into a beautiful woman, Nagiko (Vivian Wu) escapes an unhappy marriage with the misogynist office boy from the publishing house by fleeing to Hong Kong. She works as a model and seeks solace (and her absent parent) in a perpetual quest for calligraphers who will become her lovers and write on her body.
She tries unsuccessfully to print her own work with the publisher as a kind of revenge for the power he held over her father. Her lover, the polyglot translator, Jerome (Ewan McGregor), urges her to write on his body for "submission" to the reluctant publisher. Jerome is already yet another of the publisher's lovers. Nagiko agrees and the plan works, but she is overcome with jealousy and spurns Jerome.
Counseled by a disingenuous friend, the unhappy Jerome takes a supposedly temporary poison in order to win her back; her affection is restored, but the poison kills him. The publisher exhumes Jerome's body, for a gruesome harvest of his skin and her words. Disconsolate and enraged, Nagiko submits book after book of her work to the publisher, each chapter written on a different male body, some perfect, some dilapidated, all her lovers.
Finally she sends "Book 13, the Executioner" on the sumo-wrestler-like body of a man who slashes the publisher's throat. Nagiko returns to Japan where she gives birth to Jerome's child and the cheerful song of her childhood returns as she writes on the infant's face.
Ninety year old Hagar Shipley is as proud, independent, and clever as when she was a young girl growing up through the Depression and afterwards in a prairie town in Manitoba. Now in Vancouver, she suffers from arthritis, memory loss, incontinence and abdominal pain that make it impossible for her to be cared at home by her eldest son Marvin, aged 64 and his wife Doris.
She is ill and fearful but shares none of this with anyone. Unwilling to leave her house and move to a nursing home, Hagar slips away to a cottage she remembers from summers ago, and secretly find her way back to it.
On this journey, her present life continually blurs with remembrances from her past, as a self-assured "peacock" daughter of Jason Currie, a tough, disapproving Scottish Protestant store owner who values propriety, refinement and friends of social standing. Hagar defies her father by marrying Bram Shipley, an unsuccessful farmer with coarse manners. Their stormy marriage produces two sons, Marvin and John, whom she dominates. The harsh frontier life in the 1930s and the couple's incompatibilities cause her to leave her husband and go to Vancouver. Consistently Hagar's fierce independence and pride prevent her from expressing emotion or accepting weaknesses in her family, and in herself.
Eventually she is found by her son Marvin. By then she has become ill and disoriented, and is hospitalized. She is dying and must come to terms with her past and her present life and accept the death that is her future.
Although doctors have told her that things will get better, Jyl’s odds of surviving cancer are only five percent. She lives alone in a mountain cabin and receives cancer treatments at the hospital in town. She sleeps much of the day. “Her intestines had been scalded, cauterized as if by volcanic flow” [p 67], and Jyl continues to experience problem with digestion. She feels fatigued and is easily short of breath.
Her closest neighbors are the Workman’s, a Christian fundamentalist family of seven. They live miles away in a mountain valley near the creek. Without telephone, electricity, or indoor plumbing, they live off the land and toil day and night. Jyl starts carving small boats toting messages to send down the creek for the Workman children to find. Soon 15-year-old Stephan and 7-year-old Shayna visit Jyl. The two children bring her food that the Workman’s have hunted and gathered. They cut and stack firewood for the recluse. Jyl teaches them about geology and gives them small gemstones that her father had collected. The children’s visits revitalize the ill woman.
When Stephan and Shayna do not return to see her, Jyl is overcome by loneliness. She acknowledges that being alone is far worse than any aspect of her disease and treatment. Jyl makes the difficult trek to the Workman’s property to call on the children but finds that the place is deserted. Nothing remains in their boarded-up cabin except a stack of the small boats that she had crafted. Jyl sits outside their cabin and cries. The falling snow and silence envelop everything.