Showing 391 - 400 of 532 annotations tagged with the keyword "Aging"
Year after year Dr. Lin Kong returned to his country village from his army hospital post in the city with the intention of divorcing his wife, Shuyu. Except for the conception of their single child, Lin and his wife had no conjugal relationship. Their marriage had been arranged by Lin's parents and his wife had remained in the village and cared for Lin's parents until they died and then raised his daughter, Hua.
In the meantime, Lin had developed a relationship with a military nurse, Manna, in his hospital. Manna pressed him each summer to request a divorce from his wife; each summer he got Shuyu's consent, but she backed down when they appeared in court. Still Manna waited--for 18 years she waited for Lin to be free.
Eventually the waiting ended as the law allowed a divorce without consent after 18 years of separation. Lin moved his former wife and his daughter to the city and he married Manna. The remainder of the tale is that of the new marriage. Lin still waits for something that doesn't seem to exist. Manna also waits for a dream that doesn't materialize. Shuyu and Hua quietly wait in the background for Lin to come to his senses.
Gabriel Noone, a late-night radio personality ("Noone at Night" on PBS) who reads his semi-autobiographical stories to millions of Americans, has just separated from his lover Jess when a publisher sends him the proofs of a memoir written by a 13-year-old boy with AIDS. Peter, the young author, has suffered heinous sexual abuse from his parents and hoards of strangers; he lives with his adoptive mother Donna, who was his therapist. Gabriel, shaken by the memoir, calls Peter, a conversation (all via phone, almost all at night) that begins a relationship that quickly becomes an intense, father-son-like relationship that grows deeper as it grows more unsettling as Jess and others begin to cast suspicion on the actual existence of Peter.
Mr. Lucas, an Englishman, is growing old. He has always wanted to visit Greece and has finally achieved this, accompanied by his unmarried daughter, Ethel, who will, it has been assumed, dedicate her life to taking care of him in his old age. In Greece, Mr. Lucas becomes restless and resistant to the idea of an expected passive, peaceful death from old age. He wants to "die fighting." Something mysterious happens: he finds a great old hollow tree from which a spring of water flows. He climbs into the tree and experiences an epiphany: he suddenly sees all things as "intelligible and good."
But when the rest of his party find him, he is oddly repelled by them. He does not feel that anyone can share the revelation he has experienced, and he becomes afraid that if he leaves the place he will lose the feeling himself. He decides not to leave, and says he plans to stay at an inn near the old tree, but the others are horrified, and force him to leave with them.
Back in England, some time later, Ethel is now about to be married. Mr. Lucas has become a perpetually disgruntled old man, complaining about everything (especially the sound of water in the plumbing--the mystical Greek spring has been reduced to this annoyance--he says, "there’s nothing I dislike more than running water"). His sister, Julia, whom he hates, is going to take care of him once Ethel is married.
Then a gift arrives from a friend in Greece, wrapped in a Greek newspaper. In it Ethel reads the news that on the night they left, the old tree was blown down, and fell on the family who kept the inn nearby, killing them all. Ethel is upset, and says how lucky it was that they hadn’t stayed there that night, calling it a "marvellous deliverance," but Mr. Lucas dismisses the story without interest. He no longer cares.
England in the 18th century. The wealthy Lady Neville finds that she has become sad and bored with life. So she arranges an elaborate ball and decides to invite Death as the guest of honor. To be invited, Death must first be found. After discussion about whether Death lives among the rich or the poor, Lady Neville remembers that her hairdresser’s child is dying, so she gives him the invitation to pass on when death arrives.
Two days later the heartbroken hairdresser arrives with a note of acceptance. All agree that Death’s handwriting looks feminine, but when the hairdresser will not describe the source of the note, Lady Neville has him whipped and thrown out.
At the ball, the guests become increasingly fearful until Death arrives, late, in the form of a beautiful young woman. Everyone falls in love with her. When she says she has to leave, they beg her to stay, and she says she will, if they’re sure. They are, so she says that she must now choose someone to take her place as immortal Death.
After a careful (and revealing) process of selection, Death chooses Lady Neville herself, concluding that one who could treat her hairdresser so heartlessly would take on the role well, since it is clear that only she knows "how meaningless it is to be alive." The story ends as Death kisses Lady Neville--and they, presumably, change roles.
Much to the disapproval of her children, a newly-widowed seventy-two year old woman decides to continue living independently and spends her time in disreputable behavior like going to the cinema alone, visiting insalubrious parts of town, eating at inns, and going to the races. She befriends a middle-aged cobbler (who is also, scandalously, a Social Democrat) and a young "feeble-minded" kitchen maid, and she stops visiting her husband's grave. One of her sons assumes she must be sick and wants to call the doctor. Without consulting her children, she mortgages her large house and apparently gives the money to her cobbler.
The narrator (her grandchild) observes that she has lived two lives: the first as dutiful daughter, wife, and mother, and the second "as Mrs. B, an unattached person without responsibilities." She dies suddenly, without illness, and the grandchild describes a photograph taken of her corpse after death: she has the face of one who "had savoured to the full the long years of servitude and the short years of freedom and consumed the bread of life to the last crumb."
Some interesting and very odd characters (including a few scientists and researchers) inhabit the eleven short stories in this collection. In "Concerning Mold Upon the Skin, Etc.," Anton van Leeuwenhoek creates his first microscope and becomes so absorbed by the invisible worlds revealed to him that he neglects his own family. "Nowhere" is the tale of an old anatomy professor who aspires to spice up the curriculum by obtaining a corpse for his students to study. "Tumbling" recounts the difficult life of a young woman understandably haunted by the possibility that she may inherit Huntington’s chorea from her father and her inspired liberation of over one thousand laboratory mice.
In "Chloroform Jags," a professional midwife self-experiments with chloroform "not to escape time but to dissolve time." Other stories describe the execution of an elephant; the murder of a physician who happens to be an important figure in the French Revolution; a woman with a talent for insomnia who has not slept for six months; a psychoanalyst and his patient; an eighteenth century blind beekeeper; and Dorothea Dix, an early advocate for the humane treatment of the mentally ill.
In her Introduction to this posthumous collection, the poet’s daughter writes, "If I had to identify a single distinguishing figure of his imaginative world . . . it would be his preoccupation with the human task of sustaining the intensity of experience against a backdrop of desensitizing forces and death." These 25 poems range across Bruce Ruddick’s lifetime of sensitive responding to those desensitizing forces. Some spring from the pen of Ruddick as a young Canadian poet; others from the life experience of an aging psychoanalyst. All share the discipline, imagery, and economy of line that characterizes them as the work of a fine poet.
In "#25"(p. 10) Ruddick adopts the voice of a medical student who categorizes and quantifies the life of his cadaver. But the patient needs more than this. Indeed, the patient needs "a physician’s ear." ("The Patient," p. 11) Ruddick demonstrates such a sensitive ear in poems like "Ache" (p. 13)," Rehabilitation" (p. 39), and "Fever" (p. 41). And he also puts his "grouchy" heart on the table for all to see in "When the Dog Leaped"(p. 33) and "Spring" (p. 17).
Sam (Hume Cronyn) and Cora Peek (Jessica Tandy) dance to celebrate their 50th wedding anniversary, surrounded by friends and children, grandchildren and great-grandchildren. Not long after this party, Cora dies suddenly, and Sam is left alone and depressed. His anxious, protective children try to manage his life, down to what he eats, but Sam wants to be left alone. There is a classic, often comic conflict between the stubborn, independent old father and his worried, controlling children.
To help Sam, his wife returns from the dead as a white dog which he feeds and cares for, but she keeps hiding when the other family members appear, so they think Sam is hallucinating and demented. When Sam has a stroke, however, the white dog runs to a family member's house and barks for help, saving Sam's life. Later, as Sam recovers and walks using a walker, the white dog "dances" with him by putting her front paws on top of the walker. She also saves his life another time when she leads family members to a stream where Sam has fallen. Mostly she is there as his loving companion, leaving only when Sam dies.
American Beauty, a story about Lester Burnham (Kevin Spacey), his family, and his neighbors, is both comic and tragic. In addition to a loveless marriage, an unhappy teen-age daughter, and an unimaginative, routine job, Lester is worried about aging. Nothing has turned out as expected. From the outside, all seems ideal: the white-framed house, the well-tended red roses, and the white picket fence. As illustrated by meal time settings, a highly-charged cold war atmosphere prevails inside the house. Lester and his wife Carolyn (Annette Bening), a realtor, cannot stand each other and their daughter, Jane (Thora Birch), has no desire to be with either of them.
From the onset, Lester’s narrating voice tells us that he will be dead in a year. He has no illusions about the repressive nature of his life and decides, unilaterally, that abrupt changes are in order. His scripted family role is cast aside as he quits his job, lusts after his daughter’s sexy friend, Angela (Mena Suvari), and smokes an illegal substance with Ricky (Wes Bentley), a teen-ager who has moved in next door.
Uncharacteristic of his customary, go-along behavior, the new, rebellious Lester throws a plate of asparagus against the wall during dinner, drinks beer while lounging on the expensive off-limits couch, works as a cook and waiter at a local fast food restaurant, and begins a body building program so as to impress and seduce Angela. Meanwhile, Carolyn has an affair with a competing realtor and Jane falls in love with Ricky.
Two gay men, who are thoughtful and kind, live on one side of the Burnhams; on the other side, Ricky lives with another version of disturbed parents: an abused and deeply depressed mother and a retired, Marine father (Chris Cooper) who bullies his son, is expressively homophobic, and collects guns and Nazi era memorabilia.
The lives of these characters, many of them familiar to viewers, gain in intensity as various threads cross to produce an unresolvable knot.
Maurice Sendak’s illustrations of a fairy tale by Wilhelm Grimm are integral to this children’s book and have therefore been included in this art database. Refer to the "Commentary" section below for the discussion of Sendak’s illustrations.
This fairy tale by Wilhelm Grimm, rediscovered in 1983, is prefaced by a short letter to "Mili," presumably a young girl much like the one in the story; what follows is a tale designed to teach children that life can be unpredictable. The story also demonstrates, however, that the unknown can sometimes provide shelter and security even when things are not familiar.
A young widowed mother, afraid for her daughter when the village they lived in was about to be attacked by invading warriors, sends the child to hide in the forest for three days. Alone and frightened, the girl loses her way, prays to God and is led to a little house tucked away in the woods where she meets a kind old hermit, Saint Joseph.
Three days (translated thirty years earth time) later, he decides it is time for the girl to return to her mother, whose dying wish is to see her daughter once more before death. Handing Mili a rosebud, he promises that after she meets her mother, she will be able to return: "Never fear. When this rose blooms, you will be with me again." The next morning the neighbors find the child and mother together, dead in their sleep.