Showing 331 - 340 of 515 annotations tagged with the keyword "Memory"
A husband and wife in Ireland struggle to make ends meet. Corry and Nuala, each 31 years old, have 3 children. Corry works at the joinery. He also carves religious statues on the side. A wealthy English woman is impressed by his artwork and encourages Corry to pursue his craft fulltime. His talent is undeniable, but there is no market for his wooden statues.
Now Nuala is pregnant and Corry is without a job. The English woman's wealth has vanished, and she can no longer help the couple financially. Nuala offers to sell her unborn baby to an infertile couple, Mr. and Mrs. Rynne, who long for a child of their own. Mrs. Rynne is shocked by Nuala's proposition and rejects it. Corry turns down work as an apprentice tombstone engraver but accepts a job working on the roads.
Nuala is angry about the way events have unfolded. She finds solace, however, in the concrete shed that functions as her husband's workshop. As she views the wooden figures of saints, Madonnas, and the Stations of the Cross created by her husband, Nuala concludes, "The world, not she, had failed" (152).
The physician-narrator celebrates his 24th birthday in the company of two midwives and a feldsher (physician’s assistant). They toil in a remote area of Russia where conditions are harsh. The doctor tells the group about a peasant woman who requested a refill of belladonna (an atropine-like drug) that was prescribed for stomach pain the day before. Although the instructions were to take five drops as needed, the bottle was completely empty already. Since the woman had no signs of belladonna poisoning, the feldsher concludes she shared it or maybe even sold it to other villagers.
The group shares other stories about patient mistakes and misguided beliefs. That same night a man comes to the doctor’s house. He is a miller suffering from recurrent fevers. The physician diagnoses malaria and remarks how sensible and literate the patient is. Powdered quinine is prescribed to be taken once a day before the onset of fever. Soon the doctor receives word the miller is dying. The patient has defied the instructions and taken all 10 doses of quinine at one time to expedite his recovery. His stomach is pumped, and he survives the overdose.
Summary:This sensitive, but profoundly realistic narrative, of a journey from the lively, healthy marriage of two individuals deeply in love with life and with one another into the abyss of Alzheimer's dementia is told from the viewpoint of one partner. The author allows the reader to enter into her struggle with the month-to-month diminution of her beloved husband's world. The progression over the entitled "25 months" contains just the right amount of flashback to give the reader a sense of who Jack had once been and what life had held for both members of this partnership--the better to accentuate the sense of loss that this disease underscores.
Gabriel Garcia Marquez was born in 1928 and is best known in the English-speaking world for his novel, One Hundred Years of Solitude, which appeared early in his career in Spanish (1967) and later in English (1970). He was awarded the Nobel Prize in Literature in 1982 and in 1988 published the novel, 0008 (see annotation), which received considerable attention for its evocative story of love and memory.
Garcia Marquez's autobiography is recent (2002, 2003); it covers the first twenty-seven years of his life in Columbia, ending in 1955 when he is sent as a journalist to Geneva to cover the Big Four Conference for his newspaper in Bogota. Although he remained in Europe for three years after that the book does not cover that period.
Garcia Marquez was born in Aracataca, Columbia in his grandparents' home, the first child in a family that grew to include ten younger siblings. He had a hectic childhood being reared by his parents' large extended family, which included several children sired by his father with women other than his mother.
Finances were always tenuous; when he worked as a journalist he was an important supporter of the family. He received a broad classical education at the Jesuit College in Bogota, where he began his writing career. Later he studied law and journalism but did not finish law school. He read extensively from all genres of literature.
Garcia Marquez's family relationships and personal experiences were traumatic in many ways as was the political situation in Columbia. It was a tumultuous initiation to a life of creative writing. His words quoted on the flyleaf describe the book: "Life is not what one lived, but what one remembers and how one remembers it in order to recount it."
It is 1905, and a young doctor just out of internship in Chicago has decided to head for the southwest to seek his fortune. He finds himself on a slow train in southern New Mexico, sitting across from a Sister of Mercy "in her black robes, skirts and sleeves, and heavy starch." When the train stops, the doctor inquires about a group of men huddled on the platform. They surround a severely ill Mexican worker, who turns out to have appendicitis. The doctor insists that only an immediate operation will save his life, but the Mexicans are violently opposed to surgery. Eventually, the doctor enlists the nun’s help to persuade them.
In the blistering heat, they carry the man to a shed where the doctor performs an appendectomy with instruments in his black bag, including morphine and chloroform. For the next 24 hours, he and the nun watch over the man, and then carry him to the nearest town on the next train. He survives, which is good because otherwise the Mexicans have threatened to kill the doctor. The nun, who throughout has been cool toward the doctor because of his use of "rough" language, proceeds on her way to Texas.
Miracle McCloy received her name because, as she's been told many times, she was pulled from the body of her mother shortly after her mother was run over and killed by a bus. Raised largely by her grandmother with her depressed and dysfunctional father nearby, she has learned a great deal about séances, contacting the dead, reading auras, and paying attention to energy fields. But she doesn't know much about how to locate her own confused feelings about her parents, her identity, and her relationships with "normal" kids at school who see her has some kind of freak.
She perpetuates this image by casting "spells" to help fellow students connect with boyfriends. But after her father disappears, and her grandfather's house is destroyed in a tornado, she lapses into mental illness and burns herself badly trying to "melt" as she believes her father did by dancing among flaming candles. She is taken to an institution where an astute therapist and an aunt who realizes how much Miracle needed her combine their efforts to help her recover a sense of who she is--a dancer, a strongly intuitive, intelligent girl with an interesting history and a promising life to live, liberated from the obsessions of a superstitious grandmother and mentally ill father.
Fifteen selections--short stories, essays, and memoir--make up this collection. Two stories are notable: The Whistlers' Room and Atrium: October 2001 (see annotations). The title story is a translation and retelling of an obscure German tale published 75 years ago. Set in a military hospital in Germany during World War I, four soldiers share a common wound--throat injuries and laryngeal damage necessitating a tracheostomy for each man. This remarkable quartet of patients forges a fellowship of the maimed.
"Atrium: October 2001" describes the random meeting between a physician and a terminally ill teenager in the hospital atrium. The subject of death dominates their discussion. "Parable" chronicles an elderly doctor's efforts to comfort a dying man, and in the process, ease both their suffering.
Excerpts from Selzer's diary reveal much about the character of the author as well as the characters in his life. He also reminisces about growing up in Troy, New York. Approximately one-quarter of the book is devoted to Selzer's musings on works of art (sculpture and painting). Lighter fare includes a discussion of life behind the podium, a description of his home, and a new ending for A Tale of Two Cities by Charles Dickens.
The narrative of Pilgrim and his psychiatrist, Carl G. Jung, begins with Pilgrim's most recent unsuccessful attempt to kill himself. The surrealistic nature of the tale begins with this mysterious inability of the title character to exit life--a life self-proclaimed to have covered multiple incarnations over millennia each of which he has memory. His friend and his servants take him to Zurich to the renowned psychiatrist's clinic for institutionalization and therapy. Enter Dr. Jung, whose personal and professional life assumes a dominant role in the narrative.
As the story progresses, the reader learns from Pilgrim's journals the interstices of his seemingly endless voyage. While Pilgrim's tale--real or imagined--is progressively revealed, the immediate lives of the Jungs are explored in increasing depth. Layer upon layer of development of plot, past and present, is peeled away until Pilgrim escapes his prison and Jung's emotional chaos is exposed.
The story begins soon after the narrator has moved his elderly mother into Cherry Orchard, an "independent living" facility near his home in Providence, Rhode Island. Because of progressive dementia, she was no longer able to maintain her own home in New Jersey, or her relationship with Warren, her boyfriend of 20 years, with whom she spent part of each year in Florida. Thus, the narrator and his sister arranged for her move to an apartment in the exclusive Cherry Orchard, where her symptoms of Alzheimer's disease had to be hidden in order to ensure her eligibility.
The mother and son have never been close, especially after the boy's father died during his early adolescence. She was a pleasant, but distant parent, more interested in her own social and cultural affairs than in taking care of her children. The narrator is 34 years old now, married, with his own son. He has little emotional attachment to this woman who is slowing losing her mind, yet now he feels duty-bound to visit her at least weekly at Cherry Orchard.
The mother has almost entirely lost her short-term memory, yet at first blush seems surprisingly intact because of her ability to cover-up with social skills. She writes notes to herself. The texture of her life unravels. She begins to wander. Other residents complain. Occasionally a glimmer of insight appears, but quickly dies. Fighting his inclinations every step of the way, the narrator provides ever increasing physical and emotional support, while at the same time gaining a deeper understanding of how his mother was (and is). In the end nothing is changed--the mother spirals slowly downward. But in another sense everything has changed. The narrator concludes, "I had taken her in so that I could understand why I had agreed to take her. I would do it again."
The narrator is still grieving over the recent death of her father, D.M. He suffered from emphysema and died from a sarcoma of the intestine that metastasized to other organs. While visiting Sweden, the narrator explores the Royal Library. There she discovers the celebrated Encyclopedia of the Dead--a massive collection of thousands of volumes chronicling in detail the lives of ordinary people who have died.
She finds the biography of her father and takes notes while reading it throughout the night. Fifty years of his life in Belgrade are summarized in only 5 or 6 pages yet amazingly nothing seems to be left out. No detail is too small--the first day he ever smoked a cigarette, an episode of food poisoning, a love letter.
The text is illustrated with a picture of her father and an odd flower. Late in life, he began painting floral patterns like the one depicted in the book. According to the Encyclopedia, his interest in painting paralleled the onset and progression of his cancer. In fact, the narrator learns that the flower in the book closely resembles the appearance of the sarcoma that claimed his life.