Showing 201 - 210 of 744 annotations tagged with the keyword "Grief"
Summary:Obsessed with the history of presidential assassinations and captivated by the power of places and objects to evoke the past, the author writes about her travels to the sites commemorating the lives, illnesses, deaths, and burials of Presidents Lincoln, Garfield, and McKinley and of their murderers. The greatest attention is given to Lincoln.
Summary:Spoiler Alert: The ending of this thriller is revealed in the final paragraph of the summary. The threat of terrorism and the moral code of a physician place Dr. Collin Reeves in a very difficult position. The young American doctor is a specialist in parasitology and tropical diseases. He has trained and worked around the world - London, Kuwait, Brazil, and Africa. He presently practices in Mexico City. The U.S. Embassy refers sick American tourists to him. Dr. Reeves is also a CIA operative who enlisted after 9/11 to fight terrorism. After two years as an employee of the U.S. Intelligenge Service, he is disenchanted and wants out. Dr. Reeves is appalled by the brutal handling of terrorist suspects. It is his job to treat them and keep them alive long enough to obtain information or a confession.
Monica (Kay Francis) is a successful gynecologist about to open her own clinic, to be designed by Anna (Verree Teasdale), her architect friend. But she is desperate to have a baby and gravely disappointed to learn that a specialist cannot help. Her husband, John (Warren William), leaves for Europe having just decided to end a secret affair with their mutual friend, Mary (Jean Muir), an accomplished pilot. John does not know that Mary is pregnant.
Without revealing the name of her child's father, Mary appeals to Monica. At first, without ever mentioning the word, she asks for an abortion, which Monica firmly rejects, telling her that having a fatherless baby will be "lovely!" After a failed attempt at aborting herself through a deliberate riding accident, Mary accepts seclusion in a private clinic. Complications arise.
Just as Monica decides that she must perform a (never-to-be-explained) procedure to deliver the child, she overhears Mary calling for John and suddenly understands the situation. Like "a machine," she responds to Anna's slap and command that she fulfill her professional duties--yet she is cold to Mary and refuses to see the baby. She makes plans to go to Europe to prepare for her new clinic. But Mary leaves her baby on Monica's doorstep and flies her plane out over the Atlantic never to be seen again. With John's approval, Monica cancels her trip to adopt the infant; however, she does not tell her husband to whom the child was born.
Summary:Pietro Brnwa, nicknamed "The Bearclaw," has embraced change - a new name, a different occupation, and a regenerated outlook. Thanks to the Federal Witness Protection Program, Pietro, who was formerly employed as a hitman by a mafia-connected lawyer, is now Dr. Peter Brown, an intern in the Department of Internal Medicine at Manhattan Catholic Hospital. His career as an assassin was motivated by the desire to avenge the murder of the grandparents who raised him. As a physician, Dr. Brown is paying off a moral debt - doing good deeds to atone for previous acts of violence including killing people.
This is the story of an adult brother and sister whose lives are indelibly marked by the deaths of their parents, killed in a car accident when the children were young. Set in the small town in upstate NewYork where they grew up, the film centers on a visit by Terry (Mark Ruffalo) to his older sister Sammy (Laura Linney). Portraying the vicissitudes of their relationship, the film traces the effects of loss on these two compelling individuals.
The film opens uncoyly with the scene of the parents' fatal car accident. Beneath the credits we watch the church-funeral, the two small children clutching hands while a Minister addresses the assembled.
When the story picks up, we are introduced to the lives of the now adult siblings. Sammy is still living in their parents' home, working in a local bank branch office and raising her son Rudy, a somber eight-year old who is becoming curious about his estranged father. Rudy, at eight, is the age Terry was when their parents died. Sammy is a reliable, loving mom, but otherwise her life appears constricted.
We find Terry, the younger brother who is now twenty-five years old, saying goodbye to a much younger girlfriend; he is leaving to borrow some money from his sister, whom he hasn't seen in two years. Terry, endearing but irresponsible, is leading a marginal existence, broke and unemployed, no fixed address.
A long restaurant reunion scene between the siblings reveals the texture of their relationship. We see that Sammy adores and worries about Terry; he is the light of her life. Terry conveys restless discomfort with his sister's expectations, experiencing her concern for him as a burden. He reveals that he has been out of touch because he was in prison for a while, and that he needs to borrow money to pay for a girl's abortion.
After learning that his girlfriend has attempted suicide, Terry sends her the money and decides to stay with Sammy for a while. In small increments, Terry and his nephew Rudy warm up to one another. Meanwhile Sammy's life takes an unexpected turn as she begins an affair with her controlling, married boss (Matthew Broderick); this begins just after an old flame of hers resurfaces with a marriage proposal. Neither relationship provides her much nourishment. Without easy answers, the film helps us connect the dots between Sammy's unsatisfying relationships with men and her adaptation to loss and to becoming the caretaking elder sibling.
Terry's visit goes wrong when, after a series of small irresponsible dealings with Rudy, Terry takes it upon himself to introduce the child to his estranged father, resulting in an ugly scene. Sammy, distraught, asks her brother to leave, as he "doesn't know how to be around an eight year old." The film ends with their farewell as they wait for Terry's bus out of town. Terry doesn't know where he is heading or when he'll be back. The scene presents a remarkable exchange of feelings as Terry comforts Sammy, telling her it's always good to know that she "is back here rooting" for him, and assuring her that "everything will be all right -comparatively." Sammy cannot draw him into her world or her life, and every parting with him feels permanent. They find their childhood connection in this scene--and the camera follows each of them for several beats after they separate, Terry on the bus and then Sammy driving to work. We feel them slowly absorbing the violence of severing--going back into themselves. Have they affirmed that in fact they can count on one another or reminded themselves (and us) that nothing can be counted on?
A surprise element in the movie is the character of Father Ron, a Minister played by writer-director Kenneth Lonergan. Sammy turns to the minister for guidance, seeking advice about her brother. In two surprising scenes, Father Ron injects into the narrative a sweetly earnest note regarding faith and finding meaning in our lives.
Summary:The unusual title is borrowed from Nathaniel Hawthorne's story, "The Custom House," to suggest a shift in fortune when immigrants "strike their roots into unaccustomed earth." Set almost entirely in the United States (the unaccustomed earth), eight separate stories are connected most obviously by cultural dissonances affecting characters who are Indian or have Indian parents. Three of the stories, however, are linked by a strong narrative connection that is unexpected, profound, and unforgettable.
Summary:New York is the setting for thirteen linked stories that profile a long line of curious and sometimes loony doctors who are passionate about medical science but often lack common sense and good judgment. Beginning with Dr. Olaf van Schuler in the seventeenth century and continuing over more than 300 years with generations of his descendants (the Steenwycks), missteps and madness loom large in this inquisitive and peculiar medical family.
Job, a prosperous but god-fearing man, is stricken with a series of misfortunes, losing his goods, his sons, and his health all as a result of a wager between God and Satan about whether or not a "perfect and upright" man will remain thus under relentless misfortune (1:1). As he sits in ashes, covered with boils, a group of friends come to mourn with and comfort him, sitting beside him for seven days and nights in complete silence "for they saw that his grief was great" (3:13).
Job proves a good bet by never following his wife's advice to "curse God and die," but he does deliver a series of lamentations and questions about his condition, countering his friends' theories about the possible causes (unacknowledged sin, primarily) for his troubles and finally asserting his desire to speak directly to God and ask Him the reason that a good man has been burdened with a host of sorrows (2:9). Job's friends, including a fourth speaker, Elihu, who was probably added into the text by a later writer, reprove him angrily.
God appears suddenly and speaks to Job from within a whirlwind, ending Job's complaints with his chastening response. Rather than offering a rationale for Job's suffering, God reminds him of the limitations of a human perspective. Ultimately God rewards Job and reprimands Job's friends.
Summary:This collection of physician experiences, colored by the necessity of the writer to protect his patients, gives a glimpse into a medical practice of a time past-remembered by some of us, not known by our younger colleagues. Dr. Palmer, aka Harry Byrd, takes the reader into a rural setting and the practice of surgery bounded by the time and the place. Dr. Byrd, trained in Boston as a surgeon, chooses to practice in rural Maine and to work with the culture and needs of this environment. He treats the reader to a viewpoint of another era of medicine and, at some level, asks the readers to consider the lost or fading qualities of the pre-tech doctor/patient relationship.
This self-portrait includes two images of the artist. The first lies with her back toward us on a hospital gurney, her head to the left, apparently anesthetized. She is wrapped in a white sheet except for her lower back, which is exposed to show two large surgical cuts dripping blood. The second figure sits facing us in a chair in front of the right side of the gurney.
The sitting figure is essentially the familiar Frida Kahlo of many self-portraits--erect, beautifully dressed in colorful Mexican style, and her face composed in spite of the tear on her right cheek. The difference here is the presence of medical paraphernalia. The upright Kahlo holds in her lap a large back brace, and she seems to be simultaneously wearing the same device under her dress. In her right hand she holds a small flag with a Spanish inscription that could be translated: "Tree of hope, stay firm."
The two figures float in space just above a lifeless and deeply eroded desert landscape. In front of them, at the very bottom of the painting, is the suggestion of an abyss. The painting is divided laterally, the left side ruled over by a sun and the darker right side (the figure’s left) ruled by the moon.