Showing 411 - 420 of 541 annotations tagged with the keyword "Mourning"
Summary:A physician recounts an experience he had assisting an American plastic surgeon as he performed charity surgery in Honduras. One young woman, Imelda, dies of malignant hyperthermia prior to surgical repair of her cleft lip. After her death, the surgeon returns to the patient to finish the surgery. The narrator tries to imagine the surgeon's motivation for this act, as well as the family's reaction to it.
This book contains 17 short stories, all set in an in-patient hospice, all exploring the reactions of patients and their caregivers--both family members and professionals--to the last stages of terminal illness. A woman struggles to find the strength to write last letters to her loved ones, nurses are surprised when a seemingly unconscious patient suddenly joins in their conversation; the hospice chaplain becomes a patient; and so on. In the title story, a dying woman's daughter finally manages to answer honestly when her mother asks when death will come: "Soon."
Marat, a leader of the French Revolution of 1789, is portrayed just after being stabbed to death in his bath by a fervent revolutionist, Charlotte Corday. The faked letter of introduction with which she fraudulently entered his home is still held in the dead man's hand. Three quarters of the gray-brown bathtub is covered by a wooden board. The background, shades of gray, is entirely bare.
Warm yellow light further softens the horror of the scene. Both dagger on the floor and wound in the breast are barely visible in the shadow. In fact, emerging from a gray-white turban, the dead man's face--eyes closed, mouth partly smiling--appears calm, as in a gentle sleep. The inscription on the side of a wooden block makeshift desk reads "À Marat/David."
Summary:A young man (Alexander Anaishnov) has come to take care of his mother (Gudrin Geyer) who lives alone in rural Russia. She is dying. He watches her sleep, takes her for a walk (or rather carries her), reads to her, gives her medicine, and, when she falls asleep, goes for a walk alone. He breaks down and weeps, then returns to his mother, who may still be sleeping or may now be dead.
Summary:Berger writes shortly after the death of his mother. He remembers how as a child he had a morbid fear that his parents would die in the middle of the night. But his mother has lived for a long time. Now Berger reflects on his mother's secrets. She was forever stoic and had an air of mystery that Berger thinks caused him to become a writer--he had to try to fathom the mystery. On her death bed, he learns her secret-- she has had a happy life.
Annie, about to finish high school, is still struggling with the long-term grief and confusion that has changed her family life since her sister, Mog, was killed by a car thief just before her own high school graduation two years ago. Annie wants to talk about Mog, but her mother remains in insistent denial and turns away from any mention of her; her father is protective of her mother and keeps his own long silences; and her brother, eager to get on with life, is willing, but unable to sustain much of the kind of conversation that might help.
Mog’s boyfriend, who was with Mog on the night of the shooting and sustained an injury but survived, offers one source of help in Annie’s process of emerging from grief, but the help becomes confused with romantic attentions that eventually, with the help of a therapist, Mog realizes she needs gently to renounce. Her belated decision to see a therapist comes at the suggestion of a friend’s mother who sees how stuck the family is in their evasions of the grief process. She initiates the visits on her own steam, with the approval of her rather passive but supportive father, and with a rather tense policy of noninterference from her mother.
Eventually, as Annie starts college, she finds herself able to move along toward remembering Mog and speaking about her freely while also reclaiming her own life and ambitions without guilt for leaving her sister "behind." Her father assures her that her mother will "be alright." In the meantime, Annie realizes not everyone has to heal the same way, and she has, with help, found a way that works for her.
In this collection, twenty-two authors take up the subject of wanting a baby and what happens to one's self-image and marriage/relationship when difficulties arise. All the contributors are accomplished writers--e.g. Amy Hempel, Michael Bérubé, Tama Janowitz--who tell stories of the miracles, disapppointments and sometimes horrors of the various reproductive technologies; the experience of childlessness when one/a couple desperately wants one; the joys of "success" via technology or adoption; what happens when every method fails.
Summary:Two figures confront the viewer: a seated woman and a standing boy. In this double portrait, both woman and boy face outward their positions static and almost hierarchical. The woman sits with her hands resting on her knees; the boy stands by her. The colors are muted, ocher, sepia, pink, grey. Although the pair do not look at each other, emotional connection is conveyed through the way their arms seems to touch.
Summary:Malcolm Vaughan, an architect, his wife, Sarah, a biochemist, and their five-year-old son, Harry, are driving home one evening. The driver of the car in front of them is acting strangely. Malcolm goes to investigate and the driver shoots him dead. The novel traces the effects of Malcolm's death from the alternating points of view of his wife and his best friend, Deckard Jones, a black Vietnam vet. Following different and often conflicting trajectories but linked by their love for Harry, both Sarah and Deck begin to move from traumatized shock to the beginnings of recovery.
Levin, a social documentary photographer, immersed herself with the Class of 2001 in the anatomy course at Weill Medical College of Cornell University. Her photographs of cadavers, students and instructors are prefaced by a foreword by physician-writer Abraham Verghese. He describes the rite of passage of anatomical dissection: "The living studying the dead. The dead instructing the living." (p. 9)
Interspersed with the full-color images are journal entries by 11 medical students and several artistic anatomic illustrations by 3 of the students. The journal entries and photographs are organized temporally, from the introduction to the dissection lab to the final exam and student-organized memorial service. The end of the book includes the interests and brief biographies of the 11 students and a final dedication by Levin of the book to those who donated their bodies: "I have never before witnessed a gift that is honored, respected, and consumed so completely."
The photographs are not for the squeamish. For example, the double amputee pelvis prosection on page 102, or the multiple images of flayed skin, bits and pieces, or limbs tied to supports provide an insider's view of an anatomy course. Many of the images show the living in motion: translucent images of students in time-lapse swirl near the static cadavers. Other images conjure the once-upon-a-time personhood of the dead: pink fingernail polish on a female cadaver or a heart palmed by a student. The intensity of the student experience is well documented, as is the relaxed atmosphere that inevitably develops as students become accustomed to the experience of dissection.
The student journal entries are sensitive and thoughtful. Students comment on the intersections of daily living, home life, and their own bodies and bodily functions with what they are learning in the classroom. Particular discomfort regarding certain dissections, such as the pelvic region, are acknowledged. Even though students note growing immunity to the dissection experience, such comments reflect insight into professionalism and defense systems. Gallows humor and uneasiness with such humor is explored by Rebecca (p 62) after she sings "New York, New York" to the roomful of cadavers. Forensic clues about the cause of death for a particular cadaver renew the sense for students that this was once a living, feeling person.
The intense, long hours required for understanding and memorizing the material are clearly evident, but ultimately, these students realize they are given a truly special opportunity: "I began to love learning the material just for the sake of learning. Anatomy no longer felt like a burden, but rather a gift." (David, p. 119) Relationships explored include those of student with cadaver (particularly respect/disrespect, ownership and protection), life with death, and those who have had the experience of dissection with those who never will.