Showing 401 - 410 of 523 annotations tagged with the keyword "Ordinary Life"
The family in this story seems perfect: well-to-do, situated in a lovely home at the edge of Lake Tahoe, three children in the home, a retired military grandfather, and a caring, competent mother (Tilda Swinton). The absentee father, a military officer, is at sea. All appears as calm and still as the deep lake in their physical midst and at the story's center.
The story primarily concerns the mother and Beau, the oldest son (Jonathan Tucker), an extremely sensitive and gifted musician currently being considered for a scholarship at a major university. What viewers come to know is that the young man is exploring his sexuality with an inappropriate male opportunist in the nearby city.
When the mother suspects that her son is meeting someone, she confronts the amused man, asks him to back off, and returns home. The man finds their home that same night, meets with the son, and demands money. When the spurned man leaves, he slips on the dock and hits his head on a rock. The son had already returned to the house.
The surface world of lunches, carpools, and school activities is shattered by the mother's discovery of the familiar body in the lake at the edge of the family dock. Unbeknownst to the mother, the death of the man/her son's initial partner, is accidental. She assumes the worst and automatically moves to protect her son. While managing the ordinary routine for her family, she struggles to get the body into a skiff and sink it with weights in a different location.
Of course the body is discovered within a short time and unfortunately for the mother, associates of the deceased are able to figure out the scenario, or at least the connections with the son. She is approached by blackmailers with impossible financial demands.
Two scholars found and translated a personal narrative of a blind 22 year old, Thérèse-Adèle Husson, written in 1825 to the director of the Quinze-Vingts Hospital, an institution that provided permanent lodging and support for the blind in France. Husson hoped to be placed there. Subtitled "Reflections on the Physical and Moral Condition of the Blind," Husson writes about the gait, demeanor, table manners, touch, hearing, character, perceptions of the sun, moon, flowers, furniture and cloth, marriage considerations, and concludes with an education plan for the blind.
After "Reflections" Husson wrote 10 novels, including Story of a Pious Heiress; the editors have included this novel’s introduction, "Note on the Author’s Youth," which gives further autobiographical details. These two writings of Husson are framed by a thoughtful introduction by editors Weygard and Kudlick about the historical conditions of the blind in early 19th Century France, and an equally interesting and provocative concluding chapter about the manuscript, life, and world of Husson.
Born breech and deprived of oxygen for two hours, Irish poet and writer Christopher Nolan was diagnosed with cerebral palsy and is unable to speak and virtually unable to move voluntarily. His book, subtitled "The Life Story of Christopher Nolan," is narrated as a third person account of the life of "Joseph Meehan." The memoir opens with Meehan's winning the British Spastics' Society Literary Award for his first book of poetry, Dam-Burst of Dreams (1988) and ends with his last day at Trinity College, having turned down the invitation to continue his studies there towards a degree.
In the mixture of linear, traditional life narrative and lyrical, neologistic description that falls in between, the memoir addresses Meehan's birth, early life, education, and growing acclaim as a poet and writer. It recounts how his family and teachers helped develop a combination of medication, tools (a "unicorn-stick" attached to his forehead), and assistance that allowed him to type.
It details, above all, how various family, friends, and health and education professionals advocated Meehan's special-school and mainstream education and made available to him such normative life experiences as riding a pony, boating, fishing, skipping school with his mates, and going on school trips without his parents--and such unusual life experiences as becoming an award-winning writer.
Grandma's life was fully spent. Sensing her time was ending, she climbed up three flights of stairs, took to her bed, and began to die. The other inhabitants of the great house, her children and grandchildren, cried out for her. How could her great vibrancy end? What would become of them--of the house--without her? Grandma reassures those surrounding her that "no person ever died that had a family . . . other parts of me called Uncle Bert and Leo and Tom and Douglas, and all the other names, will have to take over, each to his own" (427-428).
The Heavenly Ladder is physician-poet Jack Coulehan's most recent chapbook, bringing together 48 poems, many of which have been published individually in various medical journals and literary magazines. The collection is divided into four sections.
Poems in the first section, "Medicine Stone," are written in the voice of patients or in the voice of the physician who treats them. The second section, "So Many Remedies," consists of five poems inspired by physician-author Chekhov. The poems of "The Illuminated Text" section reflect a wide-ranging interest in people who lived in distant times or in distant places. The final section, "Don't Be Afraid, Gringo," stays, for the most part, closer to home and includes a number of poems addressed to, or about, family members.
The story begins in New York as a young immigrant Scandinavian woman gives birth to a daughter: "She entered, as Venus from the sea, dripping. The air enclosed her, she felt it all over her, touching, waking her." The time is at the turn of the 20th century, the baby's name is Flossie, and she is the second child of Joe and Gurlie Stecher. Joe is a printer, who takes great pride in his craftsmanship. He had once been a union activist, but became disillusioned with union corruption and now works as a shop foreman. Gurlie's driving ambition is for she and her husband to strike it rich and make their mark in this new land, where the streets are paved in gold (for some people).
Flossie turns out to be a sickly baby. At first, she won't nurse at all and almost dies of malnutrition and infection. Later, she remains so scrawny that a doctor claims the only way to save her life is to take her to live in the country. Thus, Gurlie and her two children travel to upstate New York for the summer, where they board with an aged Norwegian couple. While there, the baby begins to thrive, and so does Gurlie, who had spent her early childhood on a farm in Scandinavia.
Soon after Flossie's birth, the printers' union calls a strike. Joe successfully holds the line and keeps the shop running, but his grateful employers are not grateful enough even to give him a raise. Toward the end of the book, he negotiates with another businessman to obtain the wherewithal to start his own printing company.
In this collection of 11 short stories, pediatrician-author Perri Klass primarily explores the world of women and their multiple and complex roles as mother, mother-to-be, friend, spouse, lover and professional. Parenthood--its glories, heartaches, tensions and mysteries--plays a prominent role in many of the stories. There is also a close look at woman-woman friendship--at what women say to their best friends and the nuances of the emotional responses to what is said or left unsaid.
Several stories feature single mothers: "For Women Everywhere" (a woman is helped through labor by her best friend), "Rainbow Mama" (a woman cares for her son during his diagnosis and initial treatment of leukemia), and "City Sidewalks" (a woman finds a baby on the sidewalk on Christmas Eve as she rushes to pick up her child from day care).
"In Necessary Risks," an anesthesiologist deals with work and her high energy preschool daughter while husband and easy-to-raise son head out to a dude ranch. In "The Trouble with Sophie," another high energy, dominant daughter wreaks havoc in kindergarten as well as with her concerned parents. In addition to the anesthesiologist, two other physician-mothers are featured in "Freedom Fighter" and "Love and Modern Medicine."
Parenting a newborn whilst handling other tasks is a theme featured in "Intimacy" (a high school biology teacher celebrates her first night of uninterrupted sleep as she both enjoys and envies her single friend's sex life) and in "Dedication" (a writer takes his stepson to a chess tournament while his biologist wife and newborn enjoy breastfeeding at home). Woman friendships are prominent in "For Women Everywhere," "Freedom Fighter," and "The Province of the Bearded Fathers." Grief and sudden infant death syndrome are themes of "Love and Modern Medicine."
In the "free love" context of the nineteen-sixties, Harriet and David Lovatt are throwbacks to a more conservative, traditional, and family-oriented decade. Their life dream is to have a big house in the country filled with children, and it seems that they will succeed. After bearing four young children, however, Harriet is feeling the strain of years of childbearing, sleeplessness, money trouble, and her parents' and in-laws' disapproval of her fecundity.
Her fifth pregnancy is not only unplanned, but also unusually painful and disruptive. Harriet's doctor prescribes sedatives but finds nothing abnormal in her situation. When Ben is born, Harriet jokes that he is like "a troll or a goblin," but no one responds well to this unusually hairy and physically vigorous baby, who in turn does not respond to anything but his own desires and fears.
As he grows older, family pets and other children seem to be in physical danger. Health care professionals do not confirm the couple's conviction that Ben is not normal, but neither do they obstruct the decision to send Ben to a private institution, a removal that leaves the family temporarily happy until Harriet visits Ben and recognizes the institution for what it is, a place where all manner of "different" children are sent to live heavily medicated, physically restrained, and foreshortened lives away from families who do not want them.
Harriet brings Ben home, where he grows up amid what remains of the Lovatts' domestic fantasy, and finds community in a gang of thuggish older boys whom Harriet suspects are involved in various criminal acts. As the story closes, Ben has left home and Harriet imagines him in another country, "searching the faces in the crowd for another of his own kind" (133).
Salvadorian writer and activist Claribel Alegria has composed a sequence of poems, 47 sparse love letters to her late husband Darwin "Bud" Flakoll who died in 1995. Neither sentimental nor confessional, the poems draw on the struggles of Circe, Prometheus, and Orpheus as well as themes of unfinished rites, sadness, and symbolic immortality. The translator's preface is a reminiscence of her time with the couple then living in self-imposed exile, in addition to a critical introduction to the poetry.
From the mundane to the profound, from the body as physical preoccupation to the body as sacred, the poet explores in 21 highly personalized lines the significance and symbolism of the human body. Washing your feet without giving it a thought means you are in good health; struggling to do it because of overweight is a reminder of mortality. This (any) physical act "should be ritual . . . memorial, meditative, immortal." It conjures up an image of the Degas ballet dancers washing their feet, and then, remarkably, that " . . . they also seemed to be washing God’s feet."
But the creative power of Degas is yet another reminder of the author’s limitations. He is vulnerable, mortal and not creative enough to gain immortality by producing a masterpiece: "It is sad to be naked and to lack talent."