Showing 41 - 50 of 361 annotations tagged with the keyword "Abandonment"

Smoke: Poems

Bryner, Jeanne

Last Updated: Aug-15-2012
Annotated by:
Donley, Carol

Primary Category: Literature / Poetry

Genre: Collection (Poems)

Summary:

This powerful collection by nurse-poet Jeanne Bryner addresses several themes.  She tells very difficult child abuse stories in the voices of children and health care professionals.  Nursing stories emerge from experiences on the surgical floor, in the ICU, labor and delivery, ER, etc.  In one poem nurses take a political stand for healthcare reform; in another the nurse helps a patient die; in another she listens to a patient describe how he endured the colonoscopy prep in his bathroom, then took his shotgun and blasted the plastic jug "to Kingdom Come.  That, he said, felt like justice." A whole section of the collection is devoted to writing workshops the nurse-poet led with cancer survivors, assisted living residents, former patients.

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The Waiting Room

Tooker, George

Last Updated: May-23-2012
Annotated by:
Aull, Felice

Primary Category: Visual Arts / Painting/Drawing

Genre: Egg tempera on wood

Summary:

On the viewer's right, in receding repetition, are narrow, numbered, blue wooden, open stalls.  Inside the stalls, and only partially visible, people are standing, dressed in street clothes, either alone or in couples, their coats still on.  In the most forward stall there are no people--only two coats that hang from coat hooks, their owners no longer "waiting."  The stalls are open at bottom and top and are illuminated by repeating fluorescent ceiling tubes.  In the lower right foreground sits a bald man dressed in a blue jacket and brown pants who looks down the narrow corridor from which the stalls branch off.  In the lower left foreground is a bench on which two men are dozing -- one man leans forward with his head tilted down, his face obscured by the hat he is wearing.  The other man has his eyes closed, his head tilted backwards.  Both are still wearing their coats.

Standing in front of the dozing men, all the way to the viewer's left, is a looming figure -- a man who stares out at the viewer, his thick glasses hiding his eyes, his mouth turned down in a suspicious frown.  He wears a dark blue coat and a brown hat.  Scraps of paper and possibly cigarette butts litter the floor in front of the sitting men. Blue is a prominent color in this painting but some of the figures wear bright red sweaters, shoes, or a dress, and a red scarf hangs from one of the hanging coats.  These individual touches of color seem to represent attempts by the sequestered people to preserve both their individuality and vitality.

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Remedies

Ledger, Kate

Last Updated: Apr-30-2012

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Simon Bear is a hard-charging physician; his wife Emily is a successful public relations executive, now a senior partner in her firm. Although they have a lavish house, a teen-aged daughter, and much wealth, their marriage is troubled, in large part because they have never fully mourned the death of their baby Caleb.

The title “Remedies” fits well with the long struggle for how to heal their grief. The remedies that clearly have not worked are obsessions with career, professionalism, rationalism, and the trappings of American materialism.

Simon has two obsessions about his practice. The first is that he is a rescuer, the perfect doctor who listens to his patients and gives them what they want. As a self-appointed expert on pain, he is free and easy about prescribing opiates. When his father-in-law feels no pain after a car accident, Simon is sure that a drug that the man is taking is, in fact, the Holy Grail of pain medications. Simon becomes obsessed with this “discovery,” promoting it to his patients, without a scientific study or consideration of ethical implications. When he flies to a national medical meeting to trumpet the news of this remedy, no one will listen to him.

While Simon is the point of view for Parts One, Three, and Five, Emily—structurally separated—is the voice and focus of Parts Two and Four. She is troubled by her distance from Simon and, increasingly, her 13-year-old daughter, who is sullen and rebellious. When she meets Will, a former lover, she seeks another kind of remedy in an affair with him, even prospects of marriage. Contrasting with her strategic, rational approach to life, Will is an open, easy-going man, conveniently separated from his wife.

A series of crises rock Emily, then Simon. Emily begins to understand her anger; she has a breakthrough with her daughter. Simon has several setbacks, including humiliations, but he is not crushed. Although ordinarily a secular Jew, Simon attends the Kol Nidre service the evening service before Yom Kippur, the Day of Atonement. In a powerful and moving passage, he finds healing, relief, and a new direction for his life—a true remedy.   

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Corporate Decision

Tooker, George

Last Updated: Apr-26-2012
Annotated by:
Kohn, Martin

Summary:

The foreground of this painting is dominated by a "pieta" type grouping. One woman hovers closely over what appears to be a dying man, while another comforts a small child. This part of the canvas is underlighted. The colors are rich earth tones. The figures are non-Caucasian.

In the background, in harsh light, is a group of identical looking starkly white men. In fact, their faces are almost skeletal. All are in suits, three are seated, with four others standing behind the seated figures. They look very much like a "tribunal."

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Loneliness

Neel, Alice

Last Updated: Feb-18-2012
Annotated by:
Bertman, Sandra

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

An empty, old, red chair sits at a three-quarter view. One leg is cut off by the painting's frame. The chair is the only subject visible in the foreground, suggesting that the room it occupies is empty. In the composition's center is a window with a stark black blind pulled nearly halfway down. The view outside the room reveals two windows in a building across the way. These windows are stacked vertically, one on top of the other, and are nearly identical in appearance.

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Annotated by:
Ratzan, Richard M.

Primary Category: Literature / Fiction

Genre: Short Story

Summary:

A Natural History of the Dead is a story in The Complete Short Stories of Ernest Hemingway. It is divided, by subject and style, into two parts, the first part of which reads like non-fiction and the second a short story, or the nidus of one.

The first section (4.5 pages) is a fairly grisly accounting of the title and describes different modes of dying and the dead, especially in war time, especially regarding WWI.The second section (2 pages) involves a medical unit with a field physician and several soldiers, none of them officers as high as the physician. They are discussing a terminally injured soldier who is dying of a devastating injury to the head. The physician does not want to waste any effort or, worse, his limited supply of morphine on a lost cause. Eventually there is verbal and even physical violence over this dispute.

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Annotated by:
Bruell, Lucy

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Extremely Loud and Incredibly Close, directed by Stephen Daldry, features an all star cast including Tom Hanks, Sandra Bullock, Max Von Sydow, Zoe Caldwell and John Goodman, but the true star is Thomas Horn as ten year old Oskar Schell who loses his father on 9/11.  The film opens at his father's funeral; Oskar refuses to leave the limousine-- the coffin is empty, and without his father's body to mourn, death remains an abstraction.

Oskar refers to 9/11 as the "worst day."  First to arrive home on 9/11 from early dismissal at school, he hears the last phone messages from his father who is waiting for the firemen to rescue him.  Before his mother comes home, he swaps the answering machine to keep the messages hidden from his mother and grandmother, possibly to protect them from hearing the anguish in his father's voice or to preserve the special relationship he had with his father.  In a flashback we learn that Fred Schell, an amateur scientist, is concerned about his son's timidity. To help Oskar overcome his shyness, he invents searching expeditions that require Oskar to talk with others. One involves a search in Central Park for clues to the lost sixth borough of New York City.  Oskar's skill at tracking clues comes into play when he finds a key labeled "Black" in his father's belongings and begins a search that he hopes will lead him to discover something his father meant for him. 

The film is adapted from the novel of the same title by Jonathan Safer Foer.  The storyline has been streamlined for the screenplay, but the emotional turbulence that permeates the lives of the Schell family is exquisitely portrayed.  Sandra Bullock as the grieving widow must deal with her son's rage that it was she who was spared instead of her husband.  Despite her overwhelming grief, she watches over Oskar in a way that allows him to experience the search on his own, and it is only later that he discovers that she watched his every move, out of love.  Oskar will never get his father back, but he is able to come to terms with the loss and to move ahead with his father's silent encouragement always close at hand.

Max von Sydow plays Oskar's long lost grandfather, a character that was fully developed in the novel but not in the film. For instance, his refusal to speak, answering questions with a "yes" and "no" tattooed on either hand and writing on a pad for more explicit responses, remains a mystery that begs for further explanation.

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Blue Nights

Didion, Joan

Last Updated: Dec-22-2011
Annotated by:
Shafer, Audrey

Primary Category: Literature / Nonfiction

Genre: Memoir

Summary:

Joan Didion's memoir, The Year of Magical Thinking, chronicled the overlap of two catastrophes: the critical illness of her adopted daughter Quintana Roo and the sudden death of her husband of forty years, John Dunne. Between the writing of that memoir and its publication in 2005, Quintana died at age 39. She had suffered a 20 month illness which started as a flu, advanced to pneumonia and sepsis, with intracranial hemorrhage and other complications necessitating 5 surgeries and extended intensive care unit stays. Blue Nights is a meditation on Quintana, and her mother's consuming sense of loss over the tragedy of her only child.

Blue nights refer to the quality of the light during evenings around summer solstice, a time of year which the author feels starts the whole cycle of diminishment and death. The memoir begins with a reminiscence of Quintana's wedding in July 2003 (the same year she falls ill and Dunne dies), as seen 7 years on by Didion. Throughout the description of the wedding are particulars of dress, flowers, design choices and locale which are not only precise, but also hold tremendous meaning to Didion. The branding of clothing, furniture, dishware, hotels etc, is dominant in many parts of the book - the Didion-Dunnes' family life was filled with movie stars, glamorous restaurants, and the hard work of writing. We see Didion on book tours and backstage during the Vanessa Redgrave one woman show of A Year of Magical Thinking.

Although Quintana's death and dying are prominent in the book, her whole life is explored. Issues of her adoption, her mental illness(es), her precociousness and talents, and above all, her relationship with her mother are intimately explored. The reader is given her childhood poems and descriptions of her nightmares and toys.

Another prominent theme is aging. The author was born in 1934, the same year, she notes, as Sophia Loren. Didion experiences neuromuscular problems and describes a particularly frightening episode of loss of consciousness and bleeding. She fears the deterioration of her cognitive abilities and laments she is unable to gain weight. She has a supportive and loving family and network of friends, but ultimately she ponders her aloneness, the lack of someone's name to write down on hospital forms as her emergency contact.  

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The Trapper's Last Shot

Yount, John

Last Updated: Dec-16-2011
Annotated by:
Ratzan, Richard M.

Primary Category: Literature / Fiction

Genre: Novel

Summary:

The Trapper’s Last Shot opens in 1960 when Beau Jim Early is returning home to Cocke County, Georgia, after 6 years in the U.S. Army. Beau Jim moves in with Dan, his brother, who is 15 years older and now a farmer, both of them survivors of a fire that killed their parents and drove them from North Carolina. Living with Dan in very straitened circumstances are his mean-spirited and child-abusing wife, Charlene, and Sheila, their thumb-sucking 7 year old who is about to repeat first grade, perhaps in part due to the literal pillow-smothering attacks at the hands of Charlene when she was still an infant, and assuredly in part due to the intellectually barren home life described.

Beau Jim realizes his immediate post-service dream of enrolling in college, nearby Senneca College, while learning to hustle pool with Claire, his high school classmate now mentor. Claire is a worldly wise alcoholic homosexual who has learned how to survive in the deep South as such while remaining just below the radar of his homophobic, racist white contemporaries. Somewhere amidst all this hubbub Beau Jim meets up with an old high school classmate, Yancey, and, a trifle improbably, becomes her beau as well as her Beau.

Although enjoying college and doing well, Beau Jim begins to doubt his intellectual fit as a college man, given his background and temperament. Shortly after, he and Claire suffer a beating at the hands of the stereotypically vicious local Deputy Sheriff Earl Wagner, a beating initiated by Claire’s homosexuality, which Jim had not suspected. This beating is the penultimate climactic event in the book: Jim quits college; Claire effectually disappears from view; and the focus now shifts to Dan and his struggling farm and family life.

Charlene, in a fit of pique over Dan’s decision to have her milk the cow to save money, sets the barn on fire (a fact never discovered by Dan), kills the cow and, in so doing, detonates the apocalyptic sequence of events that close this dark novel in an even more noir fashion. Dan snaps mentally, shooting to death an entire family of innocent blacks whom he knew and respected, as well as a stranger, a college student at Senneca.

The final pages, like the opening ones, provide a bookend (literally) of bleakness: we find Beau Jim working as a mason in  a new town with despicably mean white masons in a dead end job as he tries to establish a family life with Yancey and Sheila, whom Charlene is more than happy to be offloading on them. Unlike the initial pages, the ending offers a glimmer of the hope for an intact family life for Beau and Yancey and Sheila.

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Summary:

As the film opens, Gianni (Kim Rossi Stuart) prepares to meet for the first time the child he fathered 15 years earlier. The boy, Paolo (Andrea Rossi), was born with cerebral palsy and is of below average intelligence as well as being physically handicapped. Paolo's 19-year-old mother died when he was born, and Gianni could not bear to see the baby, or to have any subsequent contact with him. Paolo has been raised by his uncle, the dead woman's brother. Now Gianni, who lives in Milan with his wife and baby, prepares to take Paolo to a rehabilitation facility in Germany.

Paolo is trusting and does not question Gianni's long absence from his life. He manages to walk with the help of a cane, and tries to function as independently as he is physically capable of. When Gianni tries to feed him with a fork, Paolo responds by feeding Gianni instead. Many such small gestures that Paolo makes towards Gianni loosen Gianni's reserve, and each begins to respond to the other with affection.

In Germany, neither Gianni nor Paolo understand the language--in this they are equally disadvantaged. Gianni meets Nicole (Charlotte Rampling), mother to a teenage girl whose palsied speech impairment makes her unintelligible to anyone except Nicole. From the way that Gianni interacts with Paolo, Nicole senses that Gianni is Paolo's father, although Gianni at first denies it, claiming he is a friend of the family. When Gianni finally is truthful with Nicole, and worries about how Paolo will survive as an adult, she warns him that suffering is inevitable for the parent of an impaired child.

Gianni is horrified by the intensive physical therapy regimen to which Paolo is subjected in the German rehab facility, and removes the boy from therapy. He decides to bring Paolo home with him, but as they are driving back to Italy, Paolo "acts out" and Gianni realizes to his great sorrow that Paolo wishes to return to his uncle and live as he has for the first 15 years of his life. He has the keys to the house he grew up in and doesn't want to give them up.

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