Showing 21 - 30 of 298 annotations contributed by Aull, Felice
Summary:While the author's surgery for throat cancer when he was 14 years old, and its aftermath are the central events in this graphic memoir, Stitches is more essentially the story of a dysfunctional family. The memoir begins when David Small is six, growing up in Detroit, drawing, and observing the body language of his often silent parents and brother. Tension fills the house. David's mother's face is in an almost permanent scowl and the "mere moving of her fork a half inch to the right spelled dread at the dinner table" (16). She slams pots and kitchen cabinet doors while David's radiologist father lets loose on a punching bag in the basement and his brother beats drums. David is in a constant struggle to avoid his mother's fury, which author/artist David depicts as a tidal wave. His father is remote, puffing silently on his pipe.
Summary:Artist Sue Coe's mother Ellen was 64 years old when she was diagnosed with terminal cancer. The artist and her sister went to Liverpool to be with their mother at home, since Ellen did not wish to spend her last days in hospice. Sue Coe documented her mother's last days by drawing her, producing the series, "The Last 11 Days: July 20th to July 31, 1995." In the first drawing, dated July 20 (first drawing, right side), Ellen was still at the hospice. The drawing concentrates on face and hand, which are also the main features of other drawings in the series. The hand is large and bony as it is brought to Ellen's mouth, which is partially covered by the hand. Ellen's eyes are wide open and express anxiety and fear.
Summary:This painting depicts what in some respects mimics an anatomy amphitheater, but the title, "Arena," tells us that what is going on here is more spectacle than instruction. Painted in 1992, early in the AIDS epidemic, when rapid decline and death from the disease was almost unavoidable, this complex artwork catalogs some of what was taking place in society at the time. A shaft of window light illuminates the center where a masked doctor is examining a Caucasian patient while a nurse, similarly masked, stands nearby. A large white plume of smoke or steam is emanating from the patient's head. The examination is being filmed and narrated.
Summary:A hospital bed, pale blue sheets and pillows, white snowflakes. Where there might be an individual nestling his head into the pillow, there is instead a small pile of autumn leaves. In the center of one of the leaves, a small metal-like pentagon. Other leaves flutter on the bed and a small bird is perched on the bed railing above the pillow. There is blood issuing from a needle that is lying on the bed and is attached through tubing to an inverted bottle containing blood labeled "Irradiated" and "Moore, 1997." The juxtaposition of pastel colors and snowflakes with the leaking blood is striking.
Summary:First published in France as a six-volume series from 1996-2003, this narrative is often referred to as an autobiographical graphic novel, but it is more accurately described as a graphic memoir. The author, born Pierre-François Beauchard, tells and draws the story of his family's life with the author's older brother, Jean-Christophe, whom we meet on the first page, in the year 1994: "It takes a moment for me to recognize the guy who just walked in. It's my brother . . . The back of his head is bald, from all the times he's fallen. He's enormously bloated from medication and lack of exercise." Flashback to 1964 when the author is five years old and his seven-year-old brother begins to have frequent grand mal epilepsy seizures. There follows the parents' mostly fruitless search for treatment to control the seizures, including: possible brain surgery which Jean-Christophe refuses in favor of an attempt at zen macrobiotics (this seems to work for six-months), consultation with a psychic, Swedenborgian spiritualism, magnetism, alchemy, exorcism by a priest, psychiatry (a different form of exorcism!).
A woman stands in the center of this work, her head tilted to one side and slightly back. Her eyes are closed and her black hair falls around her shoulders. She is nude, although no details of her bust are given; instead, she hovers as though a ghost, her pallid skin defined by the darkness engulfing her. Swarming around her form are bands of color--red, blue, and shades of gray--that add to the painting's eerie affect. Wrapped around the crown of her head, one red, swirling band alludes to the halo so often seen in traditional depictions of the Lady Madonna.
In the frame's bottom left corner, a small figure that is perhaps a fetus or newborn looks out at the viewer with huge eyes devoid of pupils. Its arms are crossed over its chest and its lower body trails off like a vapor. A slight downward turn of the figure's mouth adds to its pathos.
A red border full of squiggly lines evocative of sperm runs around almost the entire perimeter of the painting; only the bottom of the frame and the area around the small figure are unbounded. The sperm swim clockwise from the small figure around the top of the painting, down the right side, and into the bottom of the black background. Lines trespassing from the border into the Madonna's space suggest movement of the sperm into the nether regions of the Lady--i.e. her genitalia--and imply pregnancy.
Summary:With the publication of Stag's Leap, it is very publicly (on the flyleaf) revealed that Olds is writing about the sudden, unexpected death of her 32 year marriage when her husband left to be with another woman. She waited 15 years after the event to publish this book, not wishing her children to have to face the immediate publicity. Stag's Leap refers both to the favorite wine that she and her husband drank together, and to his leap out of the marriage.
This thought-provoking poem is best read with a representation of the painting to which it refers in view (the painting, Landscape with the Fall of Icarus by Pieter Bruegel, is reproduced in On Doctoring). Auden considers the nature of human suffering: "how it takes place / While someone else is eating or opening a window or just walking / dully along . . . . " For each individual life affected by personal catastrophe (in the painting, Icarus falling from the sky into the ocean), there is the rest of humankind which must go about its daily business, either oblivious or unable to assist (in the painting, Icarus might almost be overlooked, flailing in the lower corner of the picture while the ploughman in the foreground has his back turned). Life, and death go on although the sufferer, and sometimes those who are paying attention, find this inconceivable. And what about the ship "that must have seen / Something amazing" but "had somewhere to get to"? What is the context in which suffering is noticed, what obligations exist, what can and cannot be remedied?
Summary:On the viewer's right, in receding repetition, are narrow, numbered, blue wooden, open stalls. Inside the stalls, and only partially visible, people are standing, dressed in street clothes, either alone or in couples, their coats still on. In the most forward stall there are no people--only two coats that hang from coat hooks, their owners no longer "waiting." The stalls are open at bottom and top and are illuminated by repeating fluorescent ceiling tubes. In the lower right foreground sits a bald man dressed in a blue jacket and brown pants who looks down the narrow corridor from which the stalls branch off. In the lower left foreground is a bench on which two men are dozing -- one man leans forward with his head tilted down, his face obscured by the hat he is wearing. The other man has his eyes closed, his head tilted backwards. Both are still wearing their coats.
Summary:Painted while Neel was enrolled in the Works Progress Administration--a New Deal program to help the unemployed-- the work depicts a scene with which the artist was probably familiar, being herself impoverished at the time. The setting is a room at The Russell Sage Foundation, established by Margaret Olivia Sage in 1907 for "'the improvement of social and living conditions in the United States.' In its early years the Foundation undertook major projects in low-income housing, urban planning, social work, and labor reform" (quote from http://www.russellsage.org/about) .