Showing 191 - 200 of 206 annotations tagged with the keyword "Nature"
Summary:The narrator observes that we all, from the worm to the brontosaurus, have excrement. As she cleans the horses' stalls of "risen brown buns," she contemplates that sparrows will come to pick "redelivered grain" from the manure, that mushrooms will "spring up in a downpour" from it, that "However much we stain the world," shit indicates that we go on.
Summary:Here is an account of a few years in the life of Quoyle, born in Brooklyn and raised in a shuffle of dreary upstate towns, where the novel begins. In these few years Quoyle metamorphoses from the human equivalent of a Flemish flake--a one layer spiral coil of rope that may be walked on if necessary--to a multi-layered presence with the capacity for constantly renewed purpose and connection. Grief, love, work, friendship, family, necessity, and community effect this transformation, as does Quoyle’s ancestral home of Newfoundland, a place of beauty and hardship, of memory and reverie.
Terry Tempest Williams, a thirty-four year old Mormon woman and naturalist based in Salt Lake City, Utah, considers herself part of "The Clan of One-Breasted Women." Ten women of her family, including Williams, have been treated or have died from breast cancer. Is this just an example of the randomness of nature, or is it related to the fact that Williams and her family were residing in the "virtually uninhabited" plains downwind of the atomic bomb testing grounds from 1951 to 1962?
When her book begins, Williams' mother has just been diagnosed with ovarian cancer, and the book follows the next five years of her life and death. At the same time, the Great Salt Lake is rising to record heights, flooding the Bear River Migratory Bird Refuge and scattering the birds and animals with whom Williams has lived her life. The interplay of the uncontrollable elements of nature and the inevitability of life and death make this book an elegant study of "renewal and spiritual grace," and an excellent and unusual telling of a daughter learning how to grieve for her mother.
This is a film story in which non-professional actors play themselves. It concerns six old women and their bus driver, a middle-aged woman (Michelle Sweeney), who, when their bus breaks down, are stranded in an isolated countryside. In the two days that follow, they find shelter in an abandoned and derelict house, conspire to find food, and learn about each other and themselves through personal disclosure and storytelling.
Before meeting any of the women, the audience hears their child-like chatter and laughter as they emerge from a deep fog cover into the sunshine. Clearly the women are old, but viewers soon regard them as sisters at recess giggling at the novelty of their unexpected adventure, happy to be in good company. When they reach a dilapidated and deserted house, it offers no amenities: no beds, no electricity, no water, no food. Each woman approaches the situation in a different way, but there is a buoyancy and resourcefulness about them in spite of some possible apprehensions concerning rescue and survival.
Any notion that this is a group of interchangeable old women is quickly dispelled. Separate stories unfold against spectacular scenery and humble shelter, as they try to fix the bus, catch fish with pantyhose, hunt for frogs, collect hay for mattresses, paint, laugh, sing, and sigh. In contrast to the current portrait, additional glimpses of the women are provided by superimposed photographic montages or snapshots of each character when she was younger.
One woman (Mary Meigs) is a lesbian, another a nun, another a survivor of stroke. Some are braver than others, and some have moments in their past that, when alluded to, are profoundly moving. One, we believe, is especially vulnerable and ready to die. Another, Cissy (Cissy Meddings), makes us laugh out loud; stooped and stroke-addled, she is full of life and silliness, while enduring the quiet pain of a partially explained isolation from her son and grandchildren, only the facial expression and eyes letting on. Catherine (Catherine Roche) the nun, who will make the long walk for eventual rescue, brings a serenity to the group, while a good-natured and extremely resourceful Mohawk elder (Alice Diabo) demonstrates both strength in the face of adversity and unhappiness in recollections of her marriage.
Their outer bodies belie the inner sense of being. Except for one woman who wears a wig to cover her thinning hair, none of the characters are concerned about their appearances. We may see them as old, but their actions and spirit suggest playfulness, creative energy, and wisdom. Their options may be gone or diminished, but they think of themselves as ongoing persons with much more to say and do.
Except to say that the women survive the ordeal, there are no resounding triumphs. Viewers, possibly the strangers referenced in the film’s title, gather with the good company of old women to learn about life and themselves, especially the vitality and worth of persons frequently isolated from mainstream society. For a brief time, a new society gathers and sifts experience for mutual benefit. We know about the darkness to follow and wonder what their lives will be when they are found, when this moment has passed.
The narrator remembers a science fair she participated in as a child. The projects presented were diverse. One boy weighed mice before and after killing them in order to measure the weight of the soul. Another made an atom smasher. A girl made cookies from Euglena. The narrator rubs the tar of cigarettes into the shaved backs of mice in order to discover the tremulousness of life.
The narrator says she recalled the fair because the dusky seaside sparrow just became extinct, though its cells are frozen at Walt Disney in case it is ever learned how they may be cloned. She concludes by noting that the cookies won the prize.
This long poem tells a story within a story. The framing story is Charles Darwin falling asleep and thinking, "as he always does, of animals . . . . " His dream turns into the story of the Deluge and Noah and his ark. Poor Noah is a bumbling 600 year old man, who much against his own inclinations, is told by God to build the ark and, later, to stuff it with a pair of every kind of animal. Well, Noah's sons think this whole project is stupid, but they eventually go along with it.
The most difficult part was finding and capturing the animals, two of every species, including in the end, "sixteen thousand hungry birds / lusting for the eighteen hundred thousand insects, / and the twelve thousand snakes and lizards / nipping at the seven thousand mammals, / and everyone slipping and sliding around / on the sixty-four thousand worms / and the one hundred thousand spiders--." When the deluge began and the waters rose, the ark floated past all the desperate, dying people, until the last woman "holding her baby over her head" went under "and God was well pleased."
Summary:The speaker of this long poem is recovering from seven weeks of pneumonia, during which time he has been completely bedridden. On the day of the poem, he has just arisen and makes preparations to cook a pot of tomato soup with herbs and vegetables from his (now overgrown) garden. The poem describes the beginning of the day when the speaker gathers the food from the garden, later in the day when he applies various natural remedies, and the evening when he finally drinks the soup.
Summary:This poem is essentially a list of the splendid variety of shit in the world. It begins: "You'll rejoice at how many kinds of shit there are . . ." and continues the catalog for 45 lines, from gosling shit, through cricket and mandrell shit, ending with "the shit of the wasteful gallinule."
Summary:It is autumn. The "first cool spell" has come and made its changes, but life continues: "there's something besides // death and nothingness / even if winter is coming." You can never arrive at death. As you approach death, you diminish, so that in the end, "nothing is equal to nothing."
Summary:In this poem, a young woman with cerebral palsy must withstand the rude stares of children and the withdrawal of adults as they watch her walk to the beach. The narrator has never had a normal appearing body. She likens herself to objects in nature: mantises, crabs, coquinas. While these comparisons are not exactly flattering, they allow her to feel that she belongs in the world of nature. Only in the natural world are her jerky movements considered normal. Sitting on the beach she feels "inconsequential." Yet, the way her body is able to "stay the waves" and "more than stay-Resist," suggests that she is not inconsequential.