Showing 2811 - 2820 of 2842 Literature annotations
Summary:Two lovers discuss their psychiatrists. Oz is Tod's psychiatrist, Rhadamanthus is Pumpkin's. They interpret their daily lives in light of what their psychiatrists say. In fact, their psychiatrists tell them how they feel about each other.
Summary:A woman enters the therapist's office, sits down, and begins a psychotherapy session. She reports her feelings about recently seeing a former lover. The therapist gives a lengthy, aggressive, and over-theoretical interpretation. The client is angry and unconvinced, yet they quietly make an appointment for next week's session.
Summary:Through “suburbs and the falling light,” the poet follows his father, mile after mile, trying to reach “the secret master of my blood.” He tries to speak with his father, to tell him how things turned out--they lost the house, his daughter married, the poet “lived on a hill that had too many rooms . . . . ” Finally, at the water's edge, the poet cries out for his father to return; he implores him not to jump into the water. The father turns his head and reveals “The white ignorant hollow of his face.”
Summary:The poet expresses his love for his own coffin. In fact, he is already in the coffin. He urges the reader to see his coffin as a bench for his friends to sit on, or as a coffee table. Though it would be “so much simpler, less gruesome / to use an actual coffee table . . . or a real bench,” that would show us to be rigid: “We must make one thing / do for another.” He urges the reader to use his “pine box,” to take it home, to make it a “conversation piece.”
Summary:A big, splashy wake. The corpse is decked out in lipstick and fancy dress. In life, however, she "Was scarcely looked at, much less / Wanted or talked about . . . . " She lived her life unwanted and in isolation, but in death she achieves "a place of honor," in which everyone looks at her, at least until the casket closes and "the obscene red folds / of satin" embrace her.
Summary:At the bomb testing site, a lizard waits. It is expecting something, awaiting "something farther off / than people could see . . . . " The lizard grips the earth, "its elbows tense . . . ready for a change."
Summary:This is a powerful poem about the "ugly, grunting . . . disgusting creatures" the poet sees through his microscope. We know the creatures are dead, we know the creatures are sliced, we know they’re splayed on the pathologist’s slides. Are they microbes? Are they "bits of animals"? Are they cancer cells? No one asks "whether these creatures wouldn’t have preferred" to live "their disgusting life / in bogs / and canals" or to eat one another. No one asks any questions, "because it’s all quite useless . . . like everything else in this world," a world in which the poet meets "a lonely girl," a general, a rat, even "my own self at every step."
Summary:The narrator descends from the hospital room where his father lies dying. As he leaves the hospital and crosses the street, he scans the tiers of hospital windows. He imagines "dozens of pale hands . . . waving," but he knows that his father is behind one pane, which is "the bright, erased blankness of nothing." He suddenly has a revelation that he and his father truly recognize one another, that neither is afraid for the other. He carries this vision away in "amazement."
Summary:In this essay on the spirit and the sacred, Rushdie examines the importance of language and literature in a secular, rationalist, materialist culture. He makes a case for literature as a privileged arena so that we can, "within the secrecy of our own heads . . . hear voices talking about everything in every possible way."
Summary:In the future envisioned in the novel, many children are born with severe physical handicaps, the result of toxic environmental conditions. Their brains, however, are perfectly healthy. Scientists place the infants' stunted bodies in mechanical shells, then train them to perform complex technical tasks. At adolescence, their brains are removed from their bodies and placed in machines. Their machines are their bodies, over which they have complete control. The Ship Who Sang is the story of one of these children who is placed inside the hull of a space ship. She falls in love with one of the fleshly men who board her. The resulting trauma is resolved when it is decided that they will be partnered forever.