Showing 241 - 250 of 472 annotations tagged with the keyword "Time"
The poem, through an account of the narrator’s experiences with losing hair, explores issues such as aging, sexuality, and our impotence when faced with the vagaries of nature as it transforms our bodies. Ranging from ancient Egyptian lore to dime store pharmacies, Corso weaves a kaleidoscope of images about how humans treat and worry about their hair and how hair has been a mythopoetic vehicle for millennia.
Much of the poem employs angry though humorous language whereby the narrator speaks to his hair and pleads with the gods to reverse his fate. Corso writes, "To lie in bed and be hairless is a blunder only God could allow--"; and later, "Damned be hair! . . . Hair that costs a dollar fifty to be murdered!" The poem ends with an angry diatribe against hair and an inspired denigration of its mythological power.
A figure stands left of center, erect and facing forward in a room. He is, as described by the painting's title, standing between the tall grandfather clock and the bed. Vibrantly colored and painted with a tumultuous energy, this image does not immediately connote Munch's typical themes of death and sickness. Yet his hands hang limply by his side, and the clock (sans hands or numerals) and bed can be understood symbolically, not only as a statement of the relationship between time and sleep, but also as to where Munch sees himself in his artistic career. (He appears to be stepping forward into the room, no longer concerned with time, "impassively awaiting death" (Loshak, p. 106).
This 25-foot-wide by 11 foot high mural was created in one month. Picasso’s most famous work depicts the Spanish Civil War event in which Fascist dictator Francisco Franco hired the Nazi Luftwaffe to destroy the small Basque town of Guernica. Thousands of civilians were slaughtered and wounded as the undefended town was razed in a single 3-hour bombing attack. Commissioned to design a mural for the Spanish Pavilion on any subject of his choosing, Picasso drew on photographs and published accounts of this bombing to provide the symbolic images and theme. (Pablo Picasso, A Retrospective, ed. William Rubin, New York: Museum of Modern Art, 1980. p. 303). The black and white newspaper text is suggested in the patterned treatment of the horse’s body.
Note, entered 12/99: The authenticity of this account has been called into question. Legal documents and school records contradict the author’s claim of being a Holocaust survivor. The author, however, maintains that his story is true. News accounts of this controversy first appeared in Weltwoche, a Swiss publication, in an article written by author, Daniel Ganzfried, who researched Wilkomirski’s background (August 27, 1998). Among later reports are those in The Times of London (Sept. 8, 1998), and The New York Times (Nov. 3, 1998). In October, 1999 (Oct.,14, 1999 NY Times report) the German publisher, Suhrkamp Verlag, withdrew from stores all hardcover copies and Schocken Books suspended publication on November 1, 1999.
My Summary and Commentary below were written under the assumption, which appears to be false, that Fragments is a memoir, and not fiction. All indications are that Wilkomirski believes his story to be true. Readers might consider the metaphoric significance of the Holocaust in ongoing individual suffering.
Note, entered 10/01: Interestingly, in relation to my final comment of 12/99 above, a recent article places Wilkomirski’s book within the context of scholarly work on trauma, memory, and testimony. See "Beyond the Question of Authenticity: Witness and Testimony in the Fragments Controversy" by Michael Bernard-Donalis (Proceedings of the Modern Language Association, 116/5, October 2001: 1302-1315).
Note: 2/02: The recently published book, A Life in Pieces, by Blake Eskin (New York: W. W. Norton, 2002) tells the story of Wilkomirski, Fragments, and the research into Wilkomirski’s claims, and places the affair into sociohistoric context.
Subtitled "Memories of a Wartime Childhood," this Holocaust memoir unveils the memory "shards" of a childhood spent in the Nazi death camps of Poland. The author, now a musician living in Switzerland, believes himself to have been born around 1939, in Riga, Latvia. He can’t be certain because his father was shot by militia as young Binjamin watched; later he was separated from his brothers; he remembers his mother only from one brief, forbidden visit with her in Majdanek concentration camp when they were both confined there.
Because the memoir is narrated primarily in the present tense, from the perspective of a confused, frightened child, in disjointed flashbacks, the reader viscerally experiences the bewilderment, physical hardships, the viscious cruelty of the guards, the sickening realities of existence (rats, lice, beetles; standing barefoot, ankle-deep in excrement), the fear and guilt [yes, guilt!--for inadvertently betraying another child]. But there was kindness as well--the wise older child, Jankl, who taught Binjamin survival techniques; the women inmates who hid Binjamin and other children under cloths in the laundry room--for weeks on end.
Near the end of the war, camp guards deserted and the surviving inmates staggered out--Binjamin was literally dragged along, against his will, by a camp inmate who recognized him. Somehow he ended up in an orphanage in Krakow, Poland. Here, there was fear of a different kind--distrust of all adults, fear of being "discovered" as a camp survivor (to be held responsible for another child’s death, and for abandoning his mother), total unfamiliarity with the habits of "normal" life.
Wilkomirski’s memoir begins and ends in Switzerland, where he was placed in foster care. In Switzerland there are other nightmares. Spastic attempts to verbalize his experiences are ridiculed, disbelieved, squelched. Not until a high school teacher--a German who fled to Switzerland during the war--shows documentary footage of the allied liberation of Mathausen concentration camp, does Binjamin realize that HE was never liberated. "Where was I when everyone else was being freed? . . . nobody tended us . . . the way it happened in the film. Nobody ever told me that the camp was . . . finally, definitely over . . . that . . . I could go forward without fear or threat into a new time . . . Not even later."
Cookson Selway has had a problematic childhood (his mother dressed him as a girl and his father was a murderer) and a complex youth (after dealing cocaine and becoming an alcoholic, he went into the restaurant business, made a fortune and retired at thirty-nine). Now 44, he is settled into wealthy middle age, living in Massachusetts with his wife, Ellen, a mystery writer, and his teenage daughter, Jordan. When Jordan goes away to boarding school, Cook and Ellen move to London so that Ellen can research a new novel.
Cook, always unconventional, sometimes sees things no-one else can, and in England, his condition, whatever it is, becomes worse. He begins to believe that the Willerton, the old hotel he and Ellen stay in, is haunted. He encounters three "ghosts," a small boy, an adolescent girl, and a man about his own age who is always drunk and repulsively lascivious. He learns that, years before, a girl died after jumping or falling from an upstairs window. It is rumored that she had been sexually abused by her drunk uncle. The only other person who seems aware of the ghosts is Pascal, the French bellboy, who soon becomes Cook’s ally.
Cook begins acting increasingly strangely, and his wife and the people she befriends (in particular the Sho-pans, an elderly Chinese couple) are convinced that Cook has started drinking again or is having some kind of mental breakdown. The reader is never given a final explanation for what happens; the "ghosts" certainly seem to reenact events from the hotel’s history, but they are also deeply linked to Cook’s own obsessions. They are all, perhaps, aspects of himself. Both fascinated and horrified, he is unable to reject them, even as his obsession estranges his wife. Only when it causes the death of Pascal is he able to leave the hotel and, perhaps, the ghosts. The couple return to America, and tentatively begin to recover.
Victorian critic and poet Edmund Gosse was the child of respected zoologist Philip Gosse, a minister within the Plymouth Brethren, a fundamentalist evangelical sect. This memoir of Gosse’s childhood and young adulthood details his upbringing by parents whose faith and literal approach to Scripture directed all their domestic practices.
It details the older Gosse’s agony as he struggles to reconcile his scientific vocation with his religious faith in the face of the hefty challenges posed by Chambers, Lyell and Darwin’s mid-century hypotheses about the age of the earth and the diversity of its species.
Edmund’s own agony as he realizes his inability to fulfill his parents’ expectations for him in terms of religious vocation is another significant thread. While "father and son" is the primary relationship explored, the early parts of the memoir describe Emily Gosse’s influence on her son, particularly during her illness and death from breast cancer.
This extraordinary anthology of 65 poems examines the relationship of parents to their grown children from the parents’ point of view. The poets are well known (among these, Grace Paley, Ruth Stone, Kumin, Maxine , Marilyn Hacker, Alicia Suskin Ostriker, Linda Pastan), and lesser known, female and male ( Dick Allen, Raymond Carver, Hayden Carruth, and Robert Creeley), but all poems deal head on with situations that often confront parents.
Situations examined are: the addiction of grown children ("To My Daughter"), their illnesses ("Pittsburgh," "Anorexia"), their own visible aging ("The Ways of Our Daughters"), the frustration of poor communication ("Lowater Bridge," "Harmonies for the Alienation of My Daughter," "Listen," "Potentially Fatal Toes," "Letter to a Son I Once Knew"), the way parents aren’t really the people their children think they are ("The Children"), and the joy when, even for a moment, love and safety reign ("Time, Place, and Parenthood," "Visual Ritual").
In these poems parents stand at the doorway and watch their children caring for their own children ("Sometimes," "Practicing") and they invoke family histories ("The Blessing," "Girl Children," "On an Old Photograph of My Son"). They dread the ringing of the phone ("Hours After Her Phone Call," "Long Distance Call from the Alone & Lonely") and they worry over children’s marriages, physical pains, and the disasters in their lives that parents cannot fix but feel they might have caused ("What I Need to Tell You," ""Letter: Thursday, 16 September," "Love is Not Love").
Elsa Walsh profiles three women of extraordinary achievement: Meredith Vieira, "60 Minutes" television correspondent; Rachel Worby, conductor for the Wheeling Symphony Orchestra; and Alison Estabrook, chief of breast surgery at Columbia Presbyterian Medical Center in New York. Even though the women represent remarkable levels of success, the in-depth portrayals reveal enormous personal costs to each of the individuals. Their separate efforts to balance professional and personal goals often lead to irreconcilable conflicts and then to questions about burdens placed upon women who refuse to follow imposed expectations and blueprints.
Readers will sympathize with Meredith Vieira’s struggle to overcome high-risk pregnancies and retain her highly visible and highly paid position on the CBS news team. The measures established to prevent previous miscarriages and accommodate her medical needs eventually lead to friction and discord among co-workers and staff. As the following anecdote demonstrates, Meredith refuses to separate her roles as journalist and mother. When the baby is born and salary negotiations begin, Meredith brings her infant son to the Tavern on the Green lunch meeting so that she can nurse the baby on demand. The executives are flabbergasted by her behavior and by her announcement that she intends to become pregnant again.
Rachel Worby’s story concerns the tensions between an artist’s work, milieu, and spirit and those associated with the widowed Governor of West Virginia, the man she agrees to marry. Both are accomplished, he is rich, and the love between them is healthy and strong.
Nevertheless, the worlds they occupy impose divisive expectations. She does not conform to the assumed role of Governor’s wife; it is both difficult and impossible to regulate her bombastic and vivacious personality and style.
The final story centers on Alison Estabrook as she struggles to become the chief of breast surgery in a professional world seemingly intent on placing unacceptable barriers in her way. Readers will anguish over this infuriating account of suppression by a patriarchal system.
Carl McKelvey returns to his home town in eastern Ontario, looking for work, anxious to see his daughter, and not daring to hope that his broken marriage with Chrissy can be rebuilt. She is living with Fred, who has political aspirations. He finds his widowed father, William, living in a senior’s home, disoriented and angry. The local politician/used-car salesman gives Carl work renovating a house and renting videos, but only the reclusive Adam seems to take an interest in his well-being.
Through a series of flashbacks told from shifting perspectives, the people of this small community are gradually connected to each other through their relationships with Carl’s sophisticated mother, Elizabeth. She was killed a decade ago on New Year’s Eve, when her car crashed into an oak tree, her drunken son at the wheel. Guilt, remorse, and shame plague Carl, but he little realizes that the same feelings combined with regret are the constant companions of Adam who was once Elizabeth’s improbable lover and Carl’s biological father.
Adam sifts through a series of secret, wild plans intended to "save" Carl. Finally, he drives himself and Fred into the same tree that killed Elizabeth, leaving his estate and a letter for Carl. In the end, Carl seems to have reclaimed his daughter and reestablished his life, but his future with Chrissy is ambiguous.
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.