Showing 291 - 300 of 349 annotations tagged with the keyword "Freedom"
Zimmer's poem begins with policy guidelines for landlords whose elderly tenants may be calling the switchboard more than three times per month for health emergencies. According to the guidelines, such patterns suggest that the resident, no longer capable of independent living, can be moved to a health care center.
In response to the policy passage, an advisory poem is constructed by the narrator for his own father who, we can assume, values his independence. In essence the son advises silence about medical events such as a fall: "tell no one." If an ambulance should arrive, don't get in.
The strong warnings reflect contemporary health care systems in which the prevailing practices correspond to Dante's Inferno, particularly the tenth circle. At that level, everyone faces one direction and people are "piled like cordwood inside the cranium of Satan." Cries for help are unheard and unanswered.
Mohammed (Mohsen Ramezani), an eight year old blind boy attending a special school in an Iranian city waits for his widowed father (Hossein Mahjub) to bring him home to his isolated, but idyllic Iranian village for summer recess. During several interminable hours of waiting outside the school, viewers come to recognize the boy’s sensitivity to his surroundings. Through sound and feel he is at one with nature. Remarkably, he is able to rescue a vulnerable baby bird and return it to the tree branch nest from where it has fallen.
Unfortunately, Mohammed’s father fails to exhibit this kind of care with his son. The tardy reunion is painful: rather than embracing the boy, the father requests that school officials keep the boy during the recess. When the request is refused by embarrassed faculty members who are sympathetic to the child’s family needs, father and son begin the long walk, then bus ride into the distant countryside.
In contrast, Mohammed receives a warm and loving welcome from his Granny (Salime Feizi), his sisters, and the neighboring children. Immediately, the children run with him into the meadows to explore and celebrate. Clearly, this is Mohammed’s nest.
Even though Mohammed’s abilities at the local school are superior to those of his classmates and even though he is able to function in normal play with his peers, the father focuses only on the boy’s removal from the family and the village so that he can find a new wife to care for him and his other children. The unprepared boy is taken abruptly by his father to a blind carpenter many miles away where he will serve as an apprentice. Although the carpenter is kind, Mohammed is devastated by the cruel separation from Granny and the children.
Unburdened, the father goes forth with plans for another marriage, but before the arranged ceremony occurs both the heartbroken Granny and Mohammed die. The bride-to-be and her family regard these losses as unhealthy portends. Marriage plans are canceled. Only then, does the father recognize his own blindness.
It is 1832. Europe is in turmoil of revolution and soon to be ravaged by cholera. Italians who resist the Austrian occupation of their country have fled to southern France where they are ruthlessly pursued and killed by special agents. Handsome, young, Angelo Pardi (Olivier Martinez), is an Italian fugitive whose wealthy but revolutionary-minded mother has purchased his rank of colonel. Upon learning that a friend has betrayed his cell of resistors, he determines to return to Italy carrying the funds raised for a defense.
But cholera has struck southern France. Roads and rivers are barricaded, quarantine is enforced, and he encounters death, decay, fear, and angry crowds who accuse every stranger of having caused the epidemic. Pardi meets an anxious doctor who teaches him a treatment for cholera, but moments later the doctor defies his own treatment to die of the illness caught from his patients.
As Pardi runs from both Austrian and French pursuers, he falls through a tiled roof into the life of the abandoned Pauline de Théus (Juliette Binoche). With almost comic formality, he becomes her chivalrous guide--her "angel(o)"--and leads her safely to her elderly husband through an improbable series of narrow escapes, including cholera itself. The doctor's dubious treatment comes in handy not only for saving her life but also as a pretext for nudity in their chaste relationship. A few years later, peace and health returned, Madame de Théus receives a letter from Italy. Her husband knows that he ought to let her go, but the credits roll as she gazes at the Alps and contemplates her decision.
Summary:Patsy (Genevieve Lemon), a middle-aged wife and mother of three grown daughters and a son (Russell Dykstra), is dying of cancer. Her children return home to spend time with and care for their mother in her final days. Each family member and Patsy's sometimes charming, sometimes abusive husband, Vic (Linal Haft), must face conflicts past and present as well as reconcile themselves to their mother's dying.
Keats urges his reader not to respond to melancholy by committing suicide. He says to avoid poisons like Wolf's-bane, nightshade, and yew berries. Instead, when most depressed, "glut thy sorrow" on the beauty of a rose or the rainbow of salt and sea. Likewise, if your mistress is angry with you, look into her eyes and feast on their ephemeral beauty.
Contrast is the key to pleasure. Melancholy is not the moment for death, but an opportunity for a fine experience. It is the fine balance between pain and pleasure that is ideal. The final stanza rephrases this idea. Beauty is always ephemeral; joy is always about to leave, but these are man's highest moments.
Written from prison during the tenth year of a twenty-eight year sentence, "On Living" is a remarkably moving--in fact, uplifting--poem. It is written in three parts. The first part addresses the seriousness of life: "you must live with great seriousness / like a squirrel, for example--" (p.128); later, and more poignantly: "I mean, you must take living so seriously / that even at seventy, for example, you'll plant olive trees-- / and not for your children either," (p.128).
The second part deals with hope and commitment and relates directly to his time in prison. "Let's say we're in prison / and close to fifty, / and we have eighteen more years, say, / before the iron doors will open. / We'll still live with the outside, / with its people and animals, struggle and wind--" (p.129).
The third section deals with the universal, with our grieving for the earth which ". . . will grow cold one day, / not like a block of ice / or a dead cloud even / but like an empty walnut it will roll along / in pitch-black space . . . / You must grieve for this right now / --you have to feel this sorrow now--/ for the world must be loved this much / if you're going to say 'I lived' . . . " (p.129-30).
Leap into the world imagined by Kurt Vonnegut, WNYC's reporter on the afterlife, and land with him at the Pearly Gates, or more precisely, "the hundred yards or so of vacant lot between the far end of the blue tunnel and the Pearly Gates" (8). There, Vonnegut, forever the humanist, has his interviewees talk about that which is of ultimate importance--how they lived (or should have lived) their lives.
Vonnegut begins his journeys from the state-of-the-art lethal injection facility in Huntsville, Texas, and reaches his destination though the able assistance of Jack Kevorkian. Who does he meet at the mid-point of his round trip journeys? Dead folks--many famous ones, some not so famous--21 in all (including his fictional creation, Kilgore Trout). Also on the list of interviewees are John Brown, Clarence Darrow, William Shakespeare, Mary Wallstonecraft Shelley, Karla Faye Tucker (actually put to death in the Huntsville facility), and Isaac Asimov.
Summary:In this eight-line poem, the speaker describes her own birth. Kenyon uses rich imagery and word-sound to evoke her appearance on this earth. Emerging from her mother's "large clay" as the surgeon "parted darkness," the newborn is assaulted with harsh light, noise, and a "vast freedom" that is "terrible."
In this book Robert Coles elucidates the nature of moral leadership by presenting a series of narratives about moral leaders. These are individuals who have made significant contributions to the author's moral development, mostly through personal interaction, but in some cases through their writings or their influence on other people.
The subjects include public personages like Robert Kennedy, Dorothy Day (of the Catholic Worker), Danilo Dolci (a Sicilian community organizer), Dietrich Bonhoeffer, and Erik Erikson; writers who have influenced Coles, such as Joseph Conrad and Ralph Waldo Emerson; and "ordinary" persons whom he encountered over the years in his studies of the moral lives of children.
The "ordinary" person category is most extraordinary. Coles draws heavily on personal interviews that reconstruct the courageous narratives of people like Andrew Thomas, a young Mississippian who worked on the voter registration project during the summer of 1964; Donita Gaines, one of the first black teenagers to "integrate" an all-white high school in Atlanta in 1961; and Albert Jones, a parent who volunteered to drive the school bus that carried black children in 1967 from Roxbury to a previously all-white school in South Boston.
However, the clearest and most powerful narrative that emerges from this book is that of the author himself, as he develops from young, socially conscious child psychiatrist to a middle-aged man seeking to understand what it means to be a moral leader in today's world.
The story takes place in the distant future on a world called New Sparta, shortly after the Irredentist rebellion has been put down. Edward Maret, a wealthy and likeable young man, is about to get married, but doesn't realize until too late that he has enemies close at hand. As a result of their betrayal, Edward disappears into the bowels of the police establishment, only to emerge as a zombie-like cyborg (AX-17). After surviving several years as a cyborg-soldier who has no memory of his human life, AX-17 is captured by the alien Kliya, who initiate a process that leads the cyborg to regain his human identity.
Edward Maret re-emerges--a man betrayed, a man who suffers incalculable pain, a man who has lost everything, including the love of his life. The brutalized man journeys across the galaxy to the Confederation, where physical existence has become a burden to humans, who spend most of their "real" lives in a virtual world of wish fulfillment.
Eventually, he returns to New Sparta with a new identity and a plan to obtain his revenge. Piece by piece the elaborate plan falls into place. Yet at the climax, Edward is forced to look deeply into his character and motivation, while coming to terms with his past.