Showing 301 - 310 of 358 annotations tagged with the keyword "Abandonment"
When at last the authorities came / to lead away her children, she turns around and retreats "inward to the recesses of her mind." This woman doesn't care what happens to the children because she has lived in her own world for a long time, but nobody noticed. The neighbors saw her trash stack up, they smelled "the stench of fetid scraps" in her house, but they continued along their merry way, oblivious to what was happening. [30 lines]
Dingle the Fool lives in the family home with his two sisters, their husbands, and their infant children. Their mother left the house to all three in equal shares. One sister, Joanna, wants to sell the old place and buy a modern home. The other sister, Dierdre, wants to remain in the house, especially for Dingle's sake.
Dingle plays in the mulberry patch and doesn't seem to understand much. He has a dirty old tennis ball that he believes is full of happiness. One day Dierdre gives in and agrees to sell. When she tells Dingle, he cuts the tennis ball in half, intending to give part of it to his sister.
However, when he sees that the tennis ball is empty (no happiness!), he cries and goes out to climb his favorite tree. Later that night, the house burns down. But Dingle is found safely sleeping in his tree. Joanna and Dierdre face the prospect of a lovely new house, but Dingle has to go to an institution.
This story is subtitled, "An Artist's Story." The narrator is a landscape artist living on the estate of his friend Belokurov. Nearby is the home of the Volchaninovs, a mother and two daughters. The older daughter, Lydia, is a teacher and social activist. The younger daughter, Zhenya (Missie), is warm and lovable. The narrator insists that Lydia's political and social views are wrong.
"In my opinion," he says, "medical centers, schools, village libraries and dispensaries, under present conditions, merely serve the cause of enslavement. The people are entangled in a great chain, and you are not cutting through the chain, but merely adding new links to it." (p. 223). Lydia replies, "It's true we are not saving humanity, and perhaps we make a great many mistakes; but we do all we can, and--we're right." (p. 224)
The narrator falls in love with Zhenya, who responds to him, but he makes the mistake of telling Lydia, who despises him. The next day Lydia has sent her mother and sister away. The narrator never sees them again, although he still has a faint hope: "I begin to feel that she, too, remembers me, that she is waiting for me and that we shall meet one day . . . ." (p. 231)
The short stories and poems collected in this attractive large-format volume are arranged in sections that focus on particular problems and crises children may face that isolate them from "normal" peers. Themes include sickness, disability, hospitalization, loss, conflict, developmental change, and loneliness.
The stories are simple, most 2-3 pages followed by a few questions to talk about. Each story is accompanied by hand-drawn illustrations. Characters featured in the stories represent a range of ethnicities and socio-economic situations. An introduction gives guidelines to help adults use the book as an instrument for helping children cope with difficult times.
Pipistrel is a tale about difference and lack of understanding. It recounts a teen-aged autistic boy's flight from the destroyed safety of his home to a nearby mountain cave. It also is the story of a mother's love and devotion to this human, yet bat-like creature, whom she bore and whom she can no longer protect.
The mother, Ada, discovers after many months where her son has hidden. She protects his secret hiding place from the townsfolk, but only for a while. After convincing her neighbors that he's no longer in the cave she returns to its depths to find he's fallen from the ceiling and has died. The story's final image is of the mother next to her son's body looking at the drawings he had made on the walls of the cave.
Loosely based on true events in the eighteenth century, this novel chronicles the intersection of two lives. Charles O'Brien, an exceptionally large man, travels along with friends from Ireland to England to exhibit himself. He is a giant in more ways than one. In addition to his immense size, he is also intelligent, compassionate, articulate, and a gifted storyteller.
John Hunter, a Scottish anatomist and scientist, is obsessed with experimentation, discovery, and collection. He instructs graverobbers, dissects corpses, and self-experiments with syphilis. Although both men are remarkable and abnormal, it is the scientist rather than the giant who emerges as the genuine freak.
After the colossus dies, Hunter purchases O'Briens's body for study and his collection. At the end of the story, the giant's bones still hang in permanent display but Hunter's portrait is noted to be fading toward extinction.
The Hours begins with a reconstruction of Virginia Woolf's 1941 suicide by drowning. What follows is an exploration of despair and tenacity, of the reasons that some people choose not to continue living, and of the things that enable others to go on. Patterned as a kind of theme and variations on Woolf's Mrs. Dalloway, this novel has three strands, each tracing a day in the life of a woman: Virginia Woolf herself, in 1925, as she begins to write Mrs. Dalloway; a middle-aged 1990s New Yorker named Clarissa Vaughan, but nicknamed "Mrs. Dalloway" by Richard, her ex-lover, an acclaimed writer who is dying of AIDS; and Laura Brown, a young mother in Los Angeles in 1949, pregnant, depressed, and reading Woolf's Mrs. Dalloway.
Laura's small son, Ritchie, we gradually realize, has grown up to become the Richard in Clarissa Vaughan's story and, as the hours pass in the day-long story of each woman, patterns intertwine. Clarissa (living as a lesbian, so following a path that Woolf's Mrs. Dalloway was offered but chose not to take) is planning a party for Richard. Laura is preparing a birthday dinner for her husband but after a visit from the woman next door, whom she kisses in a moment of profound but disruptive empathy, she checks into a hotel room to read, and to consider suicide. Woolf, recognizing the deep connection between her mental illness and her writing, tries to flee from the faintly suffocating safety of her home and husband.
Each woman survives, and all three days end with a sense of qualified and temporary happiness, drawn together, I think, by the fictional Virginia Woolf's decision about her novel: throughout the day she has thought about her main character, and has intended the book to end with her suicide. Late in the evening, having returned home, Woolf decides to let Mrs. Dalloway live: "sane Clarissa--exultant, ordinary Clarissa--will go on, . . . loving her life of ordinary pleasures, and someone else, a deranged poet, a visionary, will be the one to die."
The Shawl is comprised of two stories, "The Shawl" and "Rosa," originally published in The New Yorker respectively in 1980 and 1983. The first and much shorter of the stories is an extremely powerful account of the brutality of the Nazi concentration camps. Rosa, (who we meet again 30 years later in the second story), has been hiding and protecting her daughter Magda in a shawl. Rosa's 14 year old niece, Stella, (who also is central to the second story) takes the shawl from the child for her own comfort. The horrific events that follow, tiny Magda's search for her shawl and discovery by a German soldier who hurtles her to her death against an electrified fence, shape the remainder of Rosa's life--and this book.
In the sequel, Rosa, now 59 years old, has moved to Miami (a "hellish place") after literally destroying the junk shop in New York which she had owned. She lives an isolated life in a dilapidated one room apartment. Stella, who remained in New York, supports her financially, and is her primary source of contact with the outside world. A serendipitous meeting at a laundromat with a Mr. Persky, however, changes Rosa's life.
This is not to imply that there is a romanticized ending to this story--just a glimmer of hope of reconnection to the world is offered. For Rosa was still living the holocaust. As she put it--there's life before, life during (Hitler's reign) and life after--"Before is a dream. After is a joke. Only during stays." This orientation to the world is what Persky challenges.
The poet contemplates (metaphorically) an abandoned, overgrown garden. "What god is proud / of this garden / of dead flowers, this underwater / grotto of humanity?" he asks. He sees limbs waving, faces drooping, and voices clawing. He recognizes great medical figures like Charcot and Alzheimer. There are no gardeners. As he turns away, he tries to take solace in the thought that somewhere "there is another / garden, all dew and fragrance." [30 lines]
The film opens with a short series of images of hospitals, dead bodies, landscapes, a hand impaled by a nail, and a bespectacled young boy lying uncomfortably under a thin sheet. (The shot of an erect penis was removed for distribution outside Scandinavia.) A young nurse (Bibi Andersson) is assigned to look after a great actress, Elizabeth (Liv Ullman), who had been playing Electra to critical success. Elizabeth is completely mute, but the psychiatrists cannot detect any discrete pathology and have no diagnosis.
At first the nurse worries that the case may be too complicated for her, because of the difference in age and experience. The pair are sent to the doctor's summer cottage by the sea. The actress remains silent, but her nurse chatters endlessly, trying to draw out the patient. Eventually, in a complete reversal of psychotherapeutic roles, she is compulsively confiding her fears and intimate secrets of sexual adventures.
To her horror, she reads a letter written by Elizabeth to the psychiatrist that describes the confessions as nothing more than amusing diversions. She is angered and deliberately tries to harm Elizabeth. Then she delivers a stern accounting for her patient's silence, as a rejection of her femininity, her marriage, and especially of her son. This scene is portrayed twice--once with the camera on the nurse; once with the camera on the patient. The irritated husband comes for his wife, they return to the city, where Elizabeth's future is ambiguous. But at the completion of their relationship the nurse has grown in wisdom and confidence.