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Thirteen-year-old Meg tells the story of the summer of her fifteen-year-old sister’s death. One night Molly awakens covered with blood, Meg calls their parents, and Molly goes to the hospital where she remains for weeks, undergoing tests. It takes Meg a long time to let herself realize how bad it is, even after the magnitude of the illness is visible on Molly’s ravaged body.
Much of the medical detail in the hospital scenes makes clear how advanced the disease is, but Meg masks her growing fear with disgust, projecting her fear onto doctors she decides must be using Molly for experiments and exaggerating the seriousness of her condition. Unable to open herself to an empathy that would require both an unusual act of imagination and courage to face grief, Meg focuses on the bizarre visible effects of Molly’s illness and on her own altered daily life. Her oddly "selfish" perspective, understood as a self-protective strategy, makes complete sense.
In the midst of the slow progress of Molly’s leukemia, Meg develops friendships with an old man and a young couple expecting a baby. Both contacts help normalize her world, provide her with "reality checks" and give her a quality of attention her parents can’t manage at the time. After the baby is born, Meg gains a new perspective on the precarious miracle of life and finds the courage to go to the hospital to see Molly, now in the final stages of the disease. Meg and her parents are emotionally reunited in their loss, and in the final chapter Meg reflects on the paradox of healing that doesn’t cover over loss, but allows life to be good again in different terms.
Summary:Written for young adults by a volunteer in a children's cancer ward, the novel features an adolescent twin girl whose bone cancer separates her definitively from the active life she knew, and from the twin with whom she has lived her whole life in deep empathy. In the hospital she goes through a predictable period of adjustment when restlessness, loneliness, rage, and homesickness dominate. Eventually, though these feelings do not disappear, they are modified by the discovery of new forms of companionship that arise among those who share her confinement, fear, and recognition that the terms of her life have irrevocably changed. The camaraderie she experiences in the hospital teaches her both a new kind of friendship and new ways of understanding family relationship. The ending may disappoint some readers; several patients arrange a sexual encounter for a friend down the hall so she won't die without having been through that passage.
Brad, son and grandson of Boston doctors, resists acknowledging what is happening as his beloved grandfather succumbs to Alzheimer's disease. The family's resignation to the loss simply fuels his denial. His father, a senior physician, has to confront both his own father's dementia and his son's denial.
The rest of the family conspire from various points of view to make Brad accept what is happening to his grandfather and how the family system has to change in response. The old man, they point out, gets mean as well as disoriented. The father urges Brad not to divert his energies from "normal" adolescent occupations to trying to rescue his grandfather from an inevitable fate. Brad's response is to insist that his grandfather might get better, and to resent ever more deeply a family he sees as abandoning the old man.
In a final scene the old man is almost hit in an accident. Brad races to call his father, returning in time for his exhausted and confused grandfather to collapse against him on the sidewalk. Brad's father refuses to resuscitate him, recalling the old man's prohibition against extraordinary measures. In that moment of decision Brad comes to understand his father's predicament, his professional responsibilities, and the complexity of his relationship to the man he has known as grandfather. Letting his grandfather go, he also lets go of an adolescent resistance to his father's point of view, and crosses a threshold into adulthood that is both sobering and liberating.
An apostrophe to a friend of the author, a devout Catholic who died of leukemia, this poem moves through a spectrum of grieving emotions. The poet remembers an ironic comment: "and you said, when someone asked / if you’d have the operation offered, / ’I don’t have a choice’: / you were right. Your choice was death / or death." Later, he angrily swears at the attempted reassurances of the priest, developing his own bleak vision of God, but he finally concludes: "I can’t scorn your beliefs, / dare not laugh, suffer or sneer. / After all, it’s me who’s writing this / as if you’d hear."
This 1979 Academy Award winning documentary takes us into the lives of the Wohl family. Featured in this film are Philip ("Philly") Wohl, retarded since birth and now in his early 50's, and the family members who care for him: his sister, Frances, and parents, Max and Pearl. The film-maker is Philip's cousin, Ira Wohl, who provides the narrative structure for the film and was moved to document the struggle of aging parents to care for their aging and homebound son.
Ira Wohl's goal was to convince Philly's family that Philly needed to become a part of the community by moving to a group home before his parents became incapable of caring for him. In fact, during the three years of filming Max dies. And eight months after the filming and Philly's successful move to a group home, Pearl dies.
Addie Bundren is dying in Yoknapatawpha County, Mississippi. As she dwindles, her five children, husband, a scattering of neighbors and the country doctor move about her. Each is given a chapter named for him or her, to provide evolving and unique viewpoints on Addie's life and death.
When Addie has finally breathed her last, the action begins: Anse, Addie's husband, has promised her that she would be buried in Jefferson with her own family. The nuclear family sets out in their old wagon. Floods, injuries, irrational decisions, disagreements, fire, and the full mental collapse of one of the children plague the journey. Addie is eventually buried in Jefferson, but in the process of getting her there, the reader learns the sweet and the sordid about this poverty-stricken and profoundly dysfunctional family.
Berczeller was a Hungarian doctor who was forced into exile by the Nazi occupation. He traveled to Paris, to Morocco and finally got a medical license in the United States. A Trip Into the Blue is a collection of ten short stories about his experiences originally written for the New Yorker.
In "The Morphinist" he writes about the first time he was left in charge of the small hospital where he first practiced. A corpse was brought in that turned out to be alive. The man had tried to kill himself with morphine and Berczeller spent all night keeping the man awake and preventing him from trying to suicide again.
"Paternity" recounts an experience Berczeller had while setting up a practice in his rural hometown. His patients wanted more from him than simply medical expertise; he had to become a moral judge and counselor. In "Sodom and Gomorrah" he recounts how he almost became a film star instead of a doctor.
Sylvain Pons earns a meager living conducting at the ballet and giving private music lessons. He is very fond of fine food and fine art. Over the years, he has satisfied the latter craving by slowly accumulating pieces that now clutter the small apartment he shares with his friend Schmucke. Sylvain doesn’t know it, but the collection is worth a surprising amount of money. He satisfies his taste for fine food by frequently going to dinner at his cousin Marville’s house.
Marville’s wife dislikes having Sylvain at her table, for he is rustic and abrupt. He is finally kicked out completely when he tries to find a suitor for the Marville’s daughter, Cecile, and bungles the job. Shortly afterwards, Sylvain falls ill. His portress, Cibot, enters the rooms to nurse him, recognizes the value of his art collection and schemes to get it. She gets Remonencq, who runs a nearby pawn shop, and Elie Magus, a Jew with an eye for art, to help her.
The attack begins when Cibot convinces Schmucke to sell some of Sylvain’s paintings in order to pay for the doctor bills. The plot thickens as Sylvain’s doctor and an attorney get involved. The attorney goes to Madame de Marville and convinces her to fleece Sylvain or risk a smaller inheritance from Sylvain. Her husband regretfully agrees also.
Meanwhile, Sylvain has become suspicious of Cibot. He struggles out of his sick bed to find Magus studying the collectibles in his bedroom. The other rooms are empty. Sylvain realizes his friend Schmucke has been duped, and he plans a counter-attack. He writes a false will, leaving all his money to Cibot for her service at his final illness. He leaves it where she will see it. He then writes a second, true will that leaves his money to the crown on the condition that they grant Schmucke a lifetime annuity.
Sylvain then dies. Schmucke becomes the new target of the others’ greed. They nearly convince him to sign a paper forfeiting most of his inheritance, but when he realizes that the Marvilles are accusing him of having duped their cousin he falls ill and dies. The money passes on to the Marvilles. The attorney gets an important new job; the doctor gets a sinecure, and Magus gets the pictures. Even Cibot is rewarded; she gets an annuity and marries Remonencq after he kills her husband.
Harriet White is an active, energetic 82 year old resident of the Lutheran Home. We follow her through a winter day: a birthday party for a staff member, the funeral of another resident, a visit from her son, and her daily visit to see her husband who had a severe stroke and lies, uncommunicative, in the hospital ward. Mrs. White's son asks her, as he has before, to come and live with him and his family. He also reveals that he has sold the family farm. She is devastated that he had not discussed it with her, but she puts up a good front, saying it was the only sensible thing to do.
Later, she decides to walk several miles to visit the old farm. She does so, and in the evening a search party from the Lutheran Home find her there. As they drive her back, she realizes that her status has changed: she is no longer a stalwart helper, but has turned into a difficult old woman who is liable to wonder away.
What occurs when a young woman begins to menstruate and has had no preparation for it by her mother or anyone else? Toni Cade Bambara's fictive account illustrates how a normal event in the female life cycle is transformed by an uninformed child into a terrifying event. Rae Ann, whose mother died years ago, has been raised by her strict grandmother, a woman not inclined to talk about matters relating to sex.
While such ignorance seems unlikely in today's television society, the poignant and compelling story provides a useful introduction to discussion about crucial questions associated with growth and development and family behavior. Especially strong is Bambara's graphic portrayal of the physicality of menstruation and how an unprepared adolescent might respond; every female reader winces with understanding for behavior that is both humorous and full of pathos.