Showing 381 - 390 of 538 annotations tagged with the keyword "Aging"
In the first section of the book ("Rejected Prayers"), Liveson proves that the prayers were not rejected; rather, they resulted in a group of thoughtful and moving poems. These poems speak eloquently of suffering patients, especially the elderly and neurologically compromised; for example, "Jenna," wearing her "diapered dress" (p. 16), "Sonnet to Sarah," who "lets her fingers trace the pattern on the wall," (p. 20), and the patient in "Praxis," whose "smile was rare but even" (p. 21).
These poems also speak passionately of social and historical pain, and of injustice writ large. Some of the most powerful are in the section called "Before the Plaster Sets," with which the book ends: "My First Death" (p. 63), "Holocaust Torah" (p. 66), and "Yom Kippur, 5760--Musaf" (p. 68).
The latter poem is a kind of contemporary re-envisioning of Allen Ginsburg’s 1956 poem "America." Jay Liveson writes, "Yom Kippur, this is serious. We sit here / hoping to somehow tune the engine / or at least check the map." Is tuning the engine enough? Perhaps we are fooling ourselves; much more needs to be done. How can we be content to sit and tune the engine in this unjust world? Perhaps the poem that speaks this theme most eloquently is "Statistical Causes of Traumatic Shock Syndrome in Gaza--Chart VII" (p. 72).
In this collection, Thomas Lynch, a funeral director, examines many of the same topics he explores in his essays (see this database for annotations of The Undertaking: Life Studies from the Dismal Trade and Bodies in Motion and at Rest: On Metaphor and Mortality). In section one, he writes about sin and redemption ("Attende Domine," "Inviolata," "Panis Angelicus"), death and grief ("Late April," "Month’s Mind,"), love and sex ("O Gloriosa Virginum," "Casablanca," "Veni Creator Spiritus," "The Hammock"), and introduces his own point-of-view as one who tends the dead ("In Paradisum").
In the second section, Lynch delves more deeply into sin ("Byzance") and memory. In the section’s first poem, "Liberty," Lynch introduces himself as a man from a "fierce bloodline of men," and in the next five poems writes about "Argyle," perhaps a relative, perhaps an alter-ego. A long poem, "The Moveen Notebook," follows, relating the story of Lynch’s family home in Ireland and his relatives who lived and died there, ancestors who are also represented in Lynch’s essays. The rest of the poems expand upon family and memory and serve to complete the portrait of the narrator, a man who tends "toward preachment / and the body politic," who rages and who wants to "offer a witness" ("St. James’ Park Epistle").
The poems in section three serve as laments. Here Lynch addresses the failures of gods and men ("A Rhetoric upon Brother Michael’s Rhetoric upon the Window," "One of Jack’s") and the wonder of aging ("Loneliest of Trees, The Winter Oak"). But the main body of this section comprises stark poems about women and poems about Lynch’s work ("Heavenward," "The Lives of Women," "That Scream if You Ever Hear It," "These Things Happen in the Lives of Women," "How It’s Done Here," "At the Opening of Oak Grove Cemetery Bridge").
In "Couplets," Lynch speaks of teaching his sons the funeral business and the horrors they witness. In the brief poem "Aubade," he tells of an abused woman’s suicide. The last poem of the book, "Still Life in Milford--Oil on Canvas by Lester Johnson," is both a portrait of the town and of the author: "Between the obsequies, I play with words."
Summary:Picturesque autumn and evening imagery is an analogy for the changes that occur during aging. These changes are "perceiv[ed]" by one's beloved, whose love grows stronger in the face of the knowledge that death will come "ere long."
Summary:Shakespeare compares the directionality and rhythmic quality of waves to the natural life cycle: "nativity . . . / crawls to maturity", and to the relentless nature of time. Although death is eventually inevitable, the poet's tone is not one of fear or frustration, but of calm acceptance and the hope that his "verse shall stand."
Summary:The aging narrator identifies strongly with his apparently young and beautiful love. He also believes that the love within his heart keeps his beloved youthful. The sonnet considers how humans perceive the aging process in themselves by observing it in those they love.
Summary:Wordsworth describes his respect for an elderly female friend. Her wrinkles, grey hair, white cheeks, and bent head bring to mind a snowdrop. Like her, the delicate flower that blossoms on snow-covered mountains is a child of winter that prompts thoughts of gentle demise. Aging and death are compared to the moon growing brighter as night grows darker. Old age refines people into something more pure and exquisite.
The King begins to make bad judgments: he "retires" from the worries of kingship, but expects to retain the privileges; he divides the kingdom, something every king knows better than to do; he banishes his only honest daughter and his most loyal advisor. Lest the reader not get the significance of these actions, they are mirrored in the actions of one of his royal party, Gloucester.
Nature announces impending trouble and the aging king reveals the magnitude of his dementia in a scene of violent delirium. The complex conspiracies among the sons and daughters of the king and Gloucester eventually lead to the violent deaths of most of the principles, clearing the way for an establishment of a new stewardship for the kingdom.
Summary:The narrator observes an old, poor woman "who used to be the best looking gal in Georgia." now in a state of advanced deterioration. The poem expresses the poignancy of watching a decayed life from the perspective of memory; it ends with an affirmation of human dignity.
Summary:A wonderfully descriptive three-stanza poem about the icy perils of a winter walk, especially for "the claudicators, the lace- / boned, the seven-months-pregnant, and the lame." The poet juxtaposes the ludicrous (teetering, wobbling, toppling), with the serious, the "spry" with the infirm. One comfort in this situation is that it threatens everyone who ventures outdoors and there is a camaraderie and mutual empathy among those who are struggling to remain upright. [18 lines]
The scene is a sickroom in which the narrator stands at his dying sister's bed. He wishes that she could be "snatched up / to die by surprise" without ever knowing about death. The sister speaks, "I am in three parts." One is red for pain, one is yellow for exhaustion, and the other is white: "I don't know yet what white is."
The narrator stews for a while in his fears of dying, but his sister speaks again, saying that she is not afraid, but, "I just wish it didn't take so long." "Let's go home," she suddenly says, and he recalls images of their youth, and these images shuttle back and forth into the sickroom until at the end of the poem, "they ratchet the box holding / her body into the earth . . . " [79 lines]