Showing 211 - 220 of 361 annotations tagged with the keyword "Catastrophe"
This is a complex and, at times, very amusing story about modern life in an affluent Mexican family. Generational differences--and similarities--between a physician-grandfather (Xavier Masse) and his children and grandchildren, are important to the story, but the relationship between the wise grandfather and his most charismatic grandson, Rocco (Osvaldo Benavides), is central. Family issues concern money and greed, but also surprising expressions of love.
The story begins in a lovely Mexico City home where family members feud and fuss continuously. After the grandfather’s sudden death during a heated dinner table outburst with his selfish adult son, Rodrigo (Otto Sirgo), two grandsons kidnap the old man’s ashes and head to Acapulco in a "stolen" car so as to dispose of them according to their beloved grandfather’s request. Their journey is funny and full of adolescent shenanigans. In Acapulo, a secret is discovered about the grandfather that gives the story a wonderful twist.
Summary:This complex novel is difficult to summarize. The main characters are introduced separately. We meet Yurii Andreievich Zhivago (Yura) when he is ten, at his mother’s funeral. He goes on to study medicine, write poetry, and marry a young woman named Tonya. We first encounter Larisa Foedorovna (Lara) as the adolescent daughter of a widow who has been set up in a dressmaking business by Komarovsky. Komarovsky later harasses and seduces the young woman. In her anger and guilt, the impulsive Lara tries to shoot Komarovsky at a grand Christmas party, but she misses and inadvertently wounds another man. Subsequently, Lara marries Pavel Pavlovich (Pasha), her childhood sweetheart.
John Singer Sargent was commissioned by the British War Memorials Committee to paint a work for the Hall of Remembrance. Sargent visited a casualty clearing station at Le Bac-de-Sud in France, which provided the inspiration for this vast work (7x20 feet) painted in 1918.
Mustard gas (yperite, or bis(2-chloroethyl)sulfide) causes terrible pain by blistering skin and mucous membranes, by blinding and choking its victims. Used during World War I, it caused intense suffering; dying could take weeks. In the painting, soldiers who were blinded by mustard gas, are being led to a dressing tent. The foreground of the painting has a jumble of bodies, soldiers in various poses lying on the ground. The colors are muted, the soldiers appear subdued. These elements, combined with the huge size, make the painting reminiscent of ancient Greek or Roman sculptural friezes.
This is a sequence of 45 poems on the Holocaust. Of course, "on" is impossible. These poems suggest, approach, reflect and consider. They range from the tale of the Maker of Walls in Krakow who chooses to make his new wall out of "jewstone," which is cheap and conveniently sized, since it consists of gravestones; to a paean in which the poet asks the blessing of "the god of small poets" to take pity on him: "May a self-righting gyroscope inhabit me and guide me. / May I smell the lilacs of my parents' yard."
The poems situate themselves in gnomic utterance ("Black Forest Cake" and "Women"), narrative movement ("Amsterdam" and "Grace Note"), ironic lyricism ("Idyll" and "Spring"), and reflective toughness; take "Nothing" for example: "He leaves us nothing / as a remnant of His people."
A holocaust memoir, this is the painfully honest and unsentimental account of one physician's experience in the Warsaw Ghetto. The author, who was a Jewish medical student of 22 when Germany invaded Poland, remained from 1940 through most of 1943, serving as caretaker of sick or orphaned children in a ghetto hospital. During this time, she tells the reader, she made some decisions she has never been able to fully reconcile-- such as to perform multiple acts of euthanasia involving adults as well as children when the waves of slaughter and deportation increased in brutality and frequency.
Eventually, the writer joined the active resistance and was a part of the movement which ended with the complete razing of the Warsaw Ghetto in 1944. After the liberation of Poland, Blady Szwajger resumed her interrupted career in pediatric chest diseases. Only after 45 years did she choose to write of her experiences and, in her introduction, she articulates her reasons for remaining silent and for her ultimate decision to speak out.
Summary:This large, wide-ranging anthology is subtitled Poems for Men. The editors consider 16 aspects of male life and experience, and present groups of poems illustrating each aspect. Each section is introduced by a few pages of commentary. Representative sections include Approach to Wildness, Father's Prayers for Sons and Daughters, War, I Know the Earth and I Am Sad, Making a Hole in Denial, Anger Hatred Outrage, Earthly Love, and Zaniness.
This documentary video follows the making of an opera, based on the illness experiences of four Australians who have been diagnosed and treated for cancer. Their feelings about these experiences are translated into music (with lyrics) as they work closely with music therapist/composer, Emma O'Brien. As the three women and one man tell their stories of physical debility and emotional pain, the music therapist asks them to think in terms of color (they choose purple, black) and tones and rhythms that she plays for them on the piano.
When the narratives and their musical representations have evolved sufficiently, trained singers take on the roles "written" for them by the four former patients; the latter continue to be intimately involved in the opera's production, directed by David Kram. At the end of the project, which is also the conclusion of the film, the opera is performed in front of an audience (with musicians playing instruments, singing, and dramatic enactment) and the four people whose illness experience is performed take their bows together with the singers.
Joan Didion has written a very personal, powerful, and clear-eyed account of her husband's sudden and unexpected death as it occurred during the time their unconscious, hospitalized daughter was suffering from septic shock and pneumonia.
Quintana, the couple's 24-year-old adopted child, has been the object of their mutual care and worry. That John Gregory Dunne, husband and father, writer and sometime collaborator, should collapse from a massive, fatal coronary on the night before New Year's Eve at the small dinner table in their New York City apartment just after their visit with Quintana can be regarded as an unspeakable event, beyond ordinary understanding and expression. "Life changes fast . . . in the instant. You sit down to dinner and life as you know it ends" (3).
As overwhelming as these two separate catastrophes are, the account provided by Didion evokes extraordinary descriptions of the emotional and physical disorientations experienced by this very lucid, but simultaneously stunned and confused wife, mother, writer dealing with the shock of change. Her writing conveys universal grief and loss; she spins a sticky filament around the reader who cannot separate him or herself from the yearlong story of difficult, ongoing adjustment.
A chronicle of the author's perceptions, thoughts, memories, and personal relationships during the months after he was diagnosed as having AIDS. Brodkey's mind and prose are as sharp as a knife's edge. Beginning with the desperate struggle for breath that signaled pneumonia and, retrospectively, "how my life ended. And my dying began," continuing with the reactions and decisions of himself and his wife, the first half of the essay spins out an observant, introspective, cerebral, even amusing account of his particular experience.
But AIDS is often a disease associated with more emotional baggage than other fatal illnesses, and in Brodkey's case we learn that he traces both his dying and his homosexual experiences to "the major drama of [his] adolescence", daily sexual abuse by his adoptive father, with the implied knowledge and acquiescence of his mother. Writes Brodkey, "I experimented with homosexuality to break my pride, to open myself to the story." "Now I will die disfigured and in pain."
Summary:Celia Gilchrist is an editor in London who is in her thirties waiting for the right man. She meets Lewis, clearly (at least clearly to everyone else in the novel and the reader but not, typically, to Celia) a cad and a womanizer. About the time she realizes this, she receives and accepts a job offer in Edinburgh where she promptly meets Stephen, who is separated from his wife, Helen--a Helen as elusive and mysterious as the Helen of Troy, and also as powerful to affect the lives of others, especially men--and their nine-year-old child, Jenny. Despite Celia's valiant effort to get to know and accept Jenny, Celia and Jenny do not get along. From the very first chapter, which is a flash-forward, to the last page, Celia encounters accidents, lies, damage to her personal property, from dresses to sweaters to jewelry--all when Jenny is in the vicinity. The ending is cataclysmic.