Showing 191 - 200 of 525 annotations tagged with the keyword "Mourning"
Leland Fowler, a small-town Vermont attorney, is raising his small daughter alone two years after his wife's death in a car accident when he meets Carissa Lake, a homeopath, and falls in love. He originally seeks her services because of low-grade cold symptoms that won't go away. She attempts to keep their relationship purely professional, but finally advises him to see another homeopath so they can pursue a more intimate relationship.
She starts him on a regimen of highly dilute arsenic solution that helps him immediately. In the meantime another patient of Carissa's, a young family man suffering from severe athsma and allergies, has gone into a coma as a result of eating cashews to which he is violently allergic. The man's wife brings legal action against Carissa since it was under her care that Richard, the patient, started taking a homeopathic solution derived from cashews and apparently was motivated to try the cashews themselves by dint of misunderstanding the "law of similars"--that "like cures like"--that is a central homeopathic principle.
Leland's law firm prosecutes after Richard dies, and Leland is forced to keep his relationship to Carissa secret while he himself struggles with his own doubts about homeopathy. To protect Carissa, because he believes her innocent, he helps her doctor her casenotes. Eventually the case is dropped; Carissa leaves town; and Leland is left to ponder the forces that drive medical, legal, and personal decisions.
The narrator in each of the stories in this unusual collection is a home-care worker who helps people with AIDS. Each story focuses on a "gift," i.e. "The Gift of Sweat"; "The Gift of Tears"; "The Gift of Mobility" and so on. In each, we see scenes in the weeks or months shared by caregiver and patient. The patients vary widely in age, life situation, stage of illness, and attitude toward both the illness and the caregiver.
The caregiver/narrator also changes somewhat from one story to another, giving the reader some sense of the different stresses and rewards that come in the course of such work. The details of caregiving are elaborated in ways that are sometimes mundane, sometimes surprising, sometimes funny, sometimes harsh, often touching, and always straightforward.
This three-part collection of poems offers powerful images and vignettes from the life of a family practitioner living and working among the urban poor. The first section is the most explicitly medical in theme, including poems that pay painful tribute to a mother after stillbirth, a hydrocephalic child, an addict covered with boils, a young man murdered at eighteen, an old man with a failing heart.
The second section weaves images from the writer's personal story together with those from his life as physician, and the third focuses primarily on life lived as a gay man among the sick and dying, patients to be treated and friends to be mourned while life remains to be claimed and savored.
Despite the pain and grief attested to in many of the poems, a lively voice of clarity, compassion, and consent to the goodness of life even on hard terms gives the collection a defining note of celebration. Pereira's lines about a bereaved Cambodian seamstress suggest something true about his own work: ". . . she joins the circle / of other Khmer women to sew. / Punctuating the fabric / with yellow thread, finding her remnants / into a piece that will hold." ("What is Lost")
This story of love and marriage under the shadow of AIDS travels a couple's unlikely journey from meeting to courtship to disclosure of the male partner's AIDS, through a subsequent breakup, then a decision to marry, and four years of almost inexplicably happy marriage dogged from the beginning by the specter of death.
Over this time the couple has a chance to explore their respective understandings of the life of the spirit and for Hyung Goo to entertain and reject a number of avenues of comfort before joining his wife, a Presbyterian theologian and seminary professor, in her faith. Much of their short life together is lived in the context of intersecting circles of medical people and church community, in both of which they are active participants whose challenging marriage becomes a mirror and a lamp to their cohort.
This collection by a physician-poet covers a wide spectrum in topic and tone. The poems in the first of the four sections speak in voices of those waiting surgical outcomes, those whose loved ones are about to undergo invasive and dangerous procedures, those who are coming to terms (partly clinical terms) with death. The poems in the second section focus more explicitly on Jewish experience, and on experiences of suffering that take place in the wider context of biblical tradition and recent history.
The third section features lighter-hearted poems, many rhymed, that make playful reference to moments in domestic life and relationship which, while not free of suffering and anxiety, are also the stuff of laughter. The fourth focuses on love--erotic, romantic, familial--and death, which includes the ordinary losses that living through time entails. Elegiac, wistful, musing, and poignant, they end the collection in a complex, sustained key that holds an elegant tension between sorrow and hope.
Summary:Park's full name is Parkington Waddell Broughton V. He knows he has ancestors who have distinguished themselves and the name he shares with four generations of them. But his father died in Vietnam and he has never met his father's family. Though he is nearly twelve, his mother still avoids answering any questions about his father. Finally, to satisfy his curiosity, Park gets on a bus for the short ride from his home to the Vietnam Memorial in Washington DC. There he finds his father's name. There he also resolves to get some of his questions answered.
Summary:The editor solicited this collection of thirteen stories on the theme of entrapment from experienced young adult fiction writers. They represent a variety of kinds of entrapment: in a relationship too serious too early; in an abusive relationship; in a body distorted through the psychological lens of anorexia; in a dream world; in a canyon fire; in a web of secrets woven in an abused childhood; in a maze with a minotaur; in a habit of perfectionism; in the sites of urban violence; in dementia induced by post-traumatic stress (long remembered by a Viet Nam vet); in an unsought relationship with a lost and disturbed brother; in poverty. In each of the stories an adolescent protagonist encounters some challenge either to find his or her way out of a trap, or to understand others’ entrapments. The stories vary widely in setting and style, but held together by this theme, they serve to enlarge understanding of the ways in which any of us may find ourselves entrapped, and how “liberation” may require both imagination and compassion.
This is a prose poem told in the voice of a homeless person who is battling with grief and loneliness ("the houseguest who eats everything and refuses to leave") and hoping for good weather. The speaker of the poem, while dealing with the heaviness of grief and loneliness, also makes "a song for bad weather so we can stand together under our leaking roof, and make a terrible music with our wise and ragged bones."
A middle class African-American widow, Avey Marshall, has set off on a cruise with two of her friends from work on the "Bianca Pride," and becomes ill shortly after they have set sail. Avey disembarks in Grenada after experiencing disequilibrium, nausea, disturbing nightmares, and a feeling of being "clogged and swollen." Thus begins a journey of reclamation and healing of a past that has been largely forgotten or erased in her efforts to escape the poverty of her younger years and obtain the American dream of financial security and a white-defined respectability.
The novel is divided into four parts: Avey's growing distress on board the cruise ship, the intensification of nightmares and "visits" from her long-dead and very Afro-centric Great Aunt Cuney, and her decision to leave the cruise ship. The second section takes place in her hotel room where Avey confronts her rage and grief, not only over the death of her husband, but the utter waste in his drive for material success and the ensuing loss of their joy in each other and their heritage.
In the third section, Avey, getting lost on a walk, meets Lebert Joseph who convinces her to accompany him on the "Carriacou Excursion," an annual island festival honoring the long-time ancestors. Avey travels by small boat to Carriacou, becoming violently ill, and is cared for by a group of women on the boat, encouraging her in this "cleansing." This journey and her illness prompt Avey to think about the middle passage of slaves and the horrors they endured in countless journeys much worse than hers.
Once on the island, in the fourth section of the book, Avey is bathed and nursed back to health by Lebert Joseph's daughter, Rosalie Parvay. Finally, Avey joins the celebration (the "Big Drum"), witnessing and finally joining the important "Beg Pardon" and nation dances. This section brings the novel full circle as Avey experiences reconciliation with her past, her heritage, and herself.
South African lawyer and leading member of the ANC (African National Congress) during the tumultuous 70s and 80s, lost an arm, sight in one eye, and suffered hearing loss and diminished use of his legs when the bomb planted in his car exploded on April 7, 1988. This book chronicles the accident, his long recovery in a hospital and rehabilitation unit, and the process of re-entering life and politics after such a harrowing experience.
Sachs connects his personal recovery with the emergence of an apartheid-free South Africa and tells his individual story within the context of political struggle. The 2000 edition includes a forward by Desmond Tutu, an introduction by Nancy Scheper-Hughes, and a new epilogue by Sachs.