Showing 201 - 210 of 515 annotations tagged with the keyword "Memory"
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.
In this vanitas poem a mother's brushing of her pubescent daughter's "dark silken hair" becomes an occasion for meditation on the "story of replacement": the child's impending womanhood and her own mortality.
As the speaker's own skin begins to dry, the daughter's "purse" fills with "eggs, round and firm as hard-boiled yolks." The purse, the speaker knows, is about to snap its reproductive clasp. In her child's handheld mirror the biological differences are noted when the narrator observes her graying hair and folds in her neck that are clearly visible.
This short novel is the story of one man’s death, starting with his interment at the cemetery, where his daughter and older brother offer reminiscences over the coffin; and then dwelling on aspects of his life within which the seeds of death germinated and grew. The man himself is unnamed—Everyman—and his death is no different than any other. At the same time, this death is different because the dead person’s narrative voice remains behind to tell the story.
As a young boy in his father’s jewelry store, he fiddles around in a drawer of old broken watches that his father has accepted as trade-ins. The boy is a dreamer, an artist. But he goes into the advertising business to earn a living, rather than pursuing his first love, painting. He marries and divorces three times, becomes alienated from his sons by the first marriage, and winds up spending his relatively affluent, but bleak, retirement years in a New Jersey condo, maintaining at least some contact with his daughter Nancy. Meanwhile, his brother Howie becomes a fantastically successful international businessman still married to his wife of 45 years and close to his loving family.
Everyman’s brushes with death begin when he is still a child admitted to the hospital for a hernia repair and his roommate dies during the night. As a relatively young man, he experiences a close call when he collapses and is found to have a burst appendix and peritonitis. Later, he attends his father’s Orthodox Jewish funeral, where the mourners actively bury the coffin. In 1989 he experiences a massive heart attack, followed by coronary bypass surgery. In 1998 he is admitted for renal artery angioplasty. The next year he requires left carotid artery surgery. The next, placement of coronary artery stents. The next, insertion of a permanent defibrillator. Finally, he learns that the right carotid artery has now become obstructed. During the subsequent surgery, he dies: “He was no more, freed from being, entering into nowhere without even knowing it. Just as he’d feared from the start.” (p. 182)
Young Robinson Crusoe defies his father's recommendation to seek a "middle way" of life, and runs off to find his fortune at sea. After a series of misadventures including storms at sea and capture by pirates, he succeeds in becoming a plantation owner in "the Brasils." When he sets out to add slave trading to his income, a storm shipwrecks him alone on a desert island. Here he must learn to support himself through farming, hunting, and simple carpentry, making whatever he could not salvage from the ship.
Cannibals from a nearby island use his domain for occasional feasts, but Crusoe rescues one "savage" from certain consumption and finally gains a companion, Friday, whom he teaches English and Christianity and learns to love. In Crusoe's twenty-eighth year on the island, Friday helps him engineer the takeover of an English ship with a mutineed crew nearby, and they journey to England with the ship's grateful captain.
Untouchable. Paul Bannerman considers himself a modern day leper. Diagnosed with papillary carcinoma of the thyroid at the age of 35, the white ecologist in South Africa undergoes surgery to remove the malignant thyroid gland. Four week later, he is treated with radioactive iodine to obliterate any residual cancerous cells. Paul will remain radioactive for 16 days and poses a risk to anyone in contact with him. He must be quarantined. His parents, Adrian and Lyndsay, offer to care for him in their home so that Paul will not expose his wife, Berenice (Benni), and 3-year-old son, Nickie to potentially harmful radioactivity. While at his parent’s house, Paul is isolated. Nothing of Paul’s is allowed to mingle with that of others. He spends considerable time in the garden reflecting on his life.
As Paul recovers, his parent’s marriage unravels. His mother has had a previous affair. Now his father has a fling of his own (with the tour guide) during a trip to Mexico. His dad never returns home and dies of heart failure in Norway. Paul’s mother adopts an HIV-positive 3-year-old black girl.
Benni wants to have another child, but Paul is worried. Are his radioactive sperm still capable of fertilization, and if so, will the child be somehow deformed or mutilated? Eventually conception occurs, and the baby is healthy. Paul’s most recent scan shows no signs of recurrent cancer. On the professional front, Paul gets additional good news. The environmental and conservation organization he works for has been successful in opposing and temporarily halting a mining project in the sand dunes and the development of a pebble-bed nuclear reactor. Lately, most things associated with Paul are starting to glow.
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.