Showing 211 - 220 of 515 annotations tagged with the keyword "Memory"
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.
This beautifully written novel describes the death of Absalom Goodman of brain cancer and takes us into the lives and hearts of his family. The novel is written largely from the perspective of this dying husband of Gwen and father of Sonny and Rainey. In a semi-conscious state, Absalom alternates between memories of the past, psychic connections with his family members, sometimes delirious ruminations and what at times appear to be out of body experiences.
Throughout, one is immersed in a gripping drama of this working class black family and their efforts to overcome terminal illness, racism, poverty, inner city turmoil and the effects of the drug culture. One is caught up in anticipatory grief, identifying with the pain and unresolved questions of Gwen, Sonny and Rainey. The reader is moved by the love, the spirituality, the ultimate defeat of the streets and the continued hopes for the future.
Summary:Chamoiseau, a graduate student, arrives in Texaco, the illegal settlement above Fort-de-France, and is knocked unconscious by a rock. One volatile inhabitant has responded viscerally to the city official come to order the razing of his home. Others notice the coincidence between Chamoiseau's arrival and more positive events. Thus, in hope, and fear of police reprisal, they revive this "Christ," and bring him to Marie-Sophie Laborieux. In "the battle of her life" Texaco's founder begins to persuade the "Bird of Cham" to preserve her story and that of her people, to spare her town.
A stray dog bites the left ankle of 12-year-old Sierva Maria de Todos los Angeles. She and her peculiar parents live in a country near the Caribbean Sea during colonial times. Her father belongs to the class of decaying nobility. He is a weak man with poor judgment. Her scheming mother is a nymphomaniac who abuses cacao tablets and fermented honey. Sierva Maria is more or less raised by the family's slaves whose culture she assimilates. The youngster has luxuriant copper-colored hair and a penchant for lying--"she wouldn't tell the truth even by mistake" according to her mother. (p. 16)
Before long, the dog dies of rabies. When Sierva Maria begins exhibiting bizarre behavior, no one is quite sure of the cause even though everyone seems to have his or her own theory. Is the girl displaying signs of rabies? Is she possessed by a demon? The physician Abrenuncio doubts either diagnosis. The powerful Bishop believes the girl may require an exorcism. Perhaps Sierva Maria is simply eccentric or maybe even crazy. Ninety-three days after being bitten by the dog, she is locked in a cell in the Convent of Santa Clara.
The Bishop appoints his protégé, 36-year-old Father Cayetano Delaura, to investigate the matter. The priest is immediately infatuated with the girl. When the Bishop learns of Cayetano Delaura's love for Sierva Maria and his unacceptable actions, the priest is disciplined and then relegated to caring for lepers at the hospital. The Bishop next takes matters into his own hands by performing the rite of exorcism on Sierva Maria. After five sessions, she is found in bed "dead of love." (p. 147)
Billy Sanchez and Nena Daconte, children of two wealthy Colombian families, fly to Europe to celebrate their honeymoon. Although married only three days, Nena is already two months pregnant. After she scrapes her ring finger on a rose thorn, the nearly imperceptible cut starts bleeding profusely. Nena is admitted to the intensive care unit of a Paris hospital. Visitation is permitted only one day a week so Billy must wait six days before he can see his wife again. He spends most of his time alone in a nearby hotel.
Billy tries to visit Nena sooner but is thrown out of the hospital by a security guard. Billy’s attempt to enlist the aid of the foreign embassy is equally unsuccessful. When Tuesday’s visiting hours finally arrive, Billy cannot locate his wife. He spots the physician who first evaluated Nena. The doctor regretfully announces that Nena bled to death sixty hours after hospital admission. No one could find Billy to apprise him of the situation so Nena’s parents have already arranged the funeral and transported the body home for burial. Billy exits the hospital with thoughts of violence and revenge for his calamity.
In these "narrative recollections" poet Gary Soto reflects on his Mexican American childhood in the ethnically mixed laboring-class neighborhoods of Fresno, California. His was a life lived at the margins--economic margins and cultural margins. In these recollections of family relationships, youthful mischief-making, farm and factory jobs, adolescent rebellion, and the transition to professional writing Soto subtly and humorously draws our attention to the discontinuities between the lived lives of Chicanos and Anglos.
"The Beauty Contest" describes how young Gary entered his younger half-brother in a playground beauty contest. "Strong build, a chipped tooth, half Mexican and half white--he might win, I thought." (43) Gary knows that only a lighter complexioned child could meet the Anglo standards of beauty that prevail. In fact, he has internalized those standards himself: " . . . we were awed by the blond and fair skinned kids in good clothes. They looked beautiful, I thought." We are led to infer that the Anglo contestants come from a world of comfort and parental attentiveness whereas Gary has been left on his own to tend to his brother while his parents are away at their work of manual labor.
In "Looking for Work" Gary wanted to imitate the Anglo families of the television programs that he continually watched. He tried to convince his siblings to wear shoes to dinner and improve their appearance so that "[w]hite people would like us more." (26) In "1,2,3," Soto reconstructs the shocking vindictiveness of an Anglo father after his young daughter falls off of a swing that is being pushed by Gary's Chicana friend, Rosie. Soto ends this piece, "I wanted to . . . explain that it was a mistake; that we also fell from the swings and the bars and got hurt . . . ." (15)
Soto foregrounds violence as an integral part of his childhood. The lead-off sketch, "Being Mean," recounts childhood pranks involving the setting of fires and abuse of pets. But this violence also included and was a response to verbal violence from others, such as being called "dirty Mexicans." (3) "Bloodworth" chronicles the evolution from fisticuffs--"all through elementary and junior high school, it was bob and weave, jab and stick" (95)--to the more controlled violence of the high school wrestling team.
Soto tells of his back-breaking farm laboring and factory jobs in "One Last Time" and "Black Hair." There is no romance in these episodes, "no grace" (124) in the miserable conditions, and no comfort. Rather, there is always the fear that he will forever have to "work Mexican hours, and in the end die a Mexican death, broke and in despair." (123)
This short novel is based on the student-led Mexican uprising of 1968. The reader discovers that the protagonist, Nestor, is in a hospital bed one year after the government's brutal suppression of the rebellion, recovering from a stabbing at the hands of a "prostitute-assassin" he had confronted in his post-rebellion duties as a "yellow journalist." With plenty of time to think about the failures of the previous year, Nestor decides to finish off the revolution from his sick bed, and elicits the help of his heroes, both actual and fictional, to carry out his plan.
The various heroes Nestor calls upon include "the hound" from Hound of the Baskervilles and Sherlock Holmes; the Earp brothers and their companion, Doc Holliday; the four Musketeers; the Light Brigade; and various other anti-colonialists and anti-imperialists, including Norman Bethune (see film annotation, Bethune: The Making of a Hero), the Tigers of Malaysia, and the Mau-Mau. These characters are summoned by Nestor (and Taibo) as a means to revivify the "Movement of '68" that ended in the massacre of 49 students, the wounding of 500 others, and the detention of 1500 persons on October 2nd of that year.
Jorge Castaneda notes in the preface to this novel, "only fairy tales or adventure stories could heal the wounds and keep the promises of the streets . . . "(p.vii). It is the imagined hero's power to reconfigure events to which the desperate Nestor turned in his attempt to heal the past.
In the final year of World War II, in a bomb-damaged villa in the hills north of Florence, four characters seek shelter and in their various ways attempt to undo the damage of the war. Kip, the Indian munitions expert, by day disarms unexploded mines and bombs. The title character, badly burned all over his body when his plane crashed in the desert, lies in a bed, morphine deadening his pain and loosening his memory, reminiscing about a love affair and his career in military intelligence as a desert expert.
The young Canadian nurse Hana, emotionally shut down as the result of her work in the war and the death of her lover, has refused to withdraw with her unit and lovingly tends to the English patient and develops an intimate relation with Kip. Caravaggio, a friend of Hana's parents and with an ambiguous interest in her, dips into Hana's supply of morphine and uses his intelligence skills to steal things for the group and also to probe into the mystery of the history and identity of the "English" patient. The novel ends shortly after radio news of the dropping of atomic bombs in Hiroshima and Nagasaki drives Kip away from the company of the companions he sees with angry irony as part of a destructive "Western wisdom" (p. 284).
Franklin Hata, comfortably retired from his medical supply business, reflects on his life--a life that spans several continents, three cultures (ethnic Korean brought up in Japan and emigrating in adulthood to the U.S.), service as a medic in World War II (in the Imperial Army of Japan), adoptive fatherhood, and a fizzled out romance with a well-to-do suburban Caucasian widow. At first out of place in the wealthy New York suburb where he settled, Hata has worked hard to achieve acceptance there, taking pains to fit in, creating no disturbances, never complaining, even when provoked by thoughtless schoolchildren or narrow minded adults.
The major disappointment of his adult life has been his tempestuous relationship with his adopted mixed-race daughter, Sunny, who left his home to live on her own when only a teenager. Even failed parenthood, however, has been absorbed by Hata. For although Hata claims that he had always wished to "pass through with something more than a life of gestures," (299) in fact he has labored to maintain equilibrium with a carefully designed "gesture life" of daily routine and superficial social niceties.
In the idleness of retirement and the solitude of his large, empty Tudor home, disturbing memories impinge on these routines and force a re-evaluation of his life and his relationship with the estranged Sunny. As a young medic during World War II, Hata had undergone an emotional and moral crisis when he fell in love with one of the Korean "comfort women" brought into his care in the Japanese army camp (in Burma) to which he was assigned. In the midst of rape and murder, Hata had to make choices, and these choices he can no longer justify to himself.
Further, he comes to understand that his relationship with his daughter has been colored by those long ago events. "In a way, it was a kind of ignoring that I did, an avoidance of her as Sunny -- difficult, rash, angry Sunny -- which I masked with a typical performance of consensus building and subtle pressure, which always is the difficult work of attempting to harmonize one's life and the lives of those whom one cherishes." (284)
It is part of the interest of this film that it is not easily summarized. The present tense of the film is the final year of World War II, the setting a bomb-damaged villa in the hills north of Florence, the action four characters seeking shelter there and attempting to undo some of the damage of the war.
The title character (Ralph Fiennes), whose identity is a mystery at the beginning of the film, was badly burned all over his body when his plane crashed in the desert. He lies in a bed, morphine deadening his pain and loosening his memory, reminiscing about a love affair with Katherine Clifton (Kristin Scott Thomas) and his career in military intelligence as a desert expert
The young Canadian nurse Hana (Juliette Binoche), emotionally shut down as the result of her work in the war and the death of her lover, has refused to withdraw with her Red Cross unit and lovingly tends to the badly burned patient and develops an intimate relation with Kip (Naveen Andrews), a Sikh munitions expert who by day disarms unexploded mines and bombs. An American nicknamed Caravaggio (Willem Dafoe), a criminal who has been recruited by military intelligence, shows up and probes with increasing intensity into the mystery of the history and identity of the "English" patient, who he believes in some way responsible for the amputation of his thumbs by the Germans.
Much of the film consists of flashbacks through the point of view of the English patient, who it turns out is a Hungarian count, Laszlo Almasy, an explorer and geographer of the north African desert, who in his deep devotion to Katherine Clifton did in fact commit a treasonous act that indirectly led to Caravaggio's amputations. The film ends with Caravaggio finally forgiving the badly wounded Almasy, Hana granting Almasy's request of a peaceful death, and she herself leaving for Florence, where we expect she will meet Kip, who has just been reassigned there.