Showing 411 - 420 of 515 annotations tagged with the keyword "Ordinary Life"
Living in early 20th century Greenwich Village are two young women artists, Sue and Johnsy (familiar for Joanna). They met in May, six months previously, and decided to share a studio apartment. Stalking their artist colony in November is "Mr. Pneumonia." The story begins as Johnsy, near death from pneumonia, lies in bed waiting for the last leaf of an ivy vine on the brick wall she spies through her window to fall.
"I’m tired of thinking," says Johnsy. "I want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves"(16). However, an unexpected hero arrives to save Johnsy. It’s not the brusque doctor who gives her only one in ten chances to survive, raising them to one in five if Sue can get her to hope for something important like a man, not her true desire to "paint the Bay of Naples some day" (14).
Mr. Behrman, an old man who lives in the apartment below Sue and Johnsy, who enjoys drinking, works sometimes as an artist’s model, and as yet has made no progress over the past 40 years on painting his own masterpiece, becomes in typical O. Henry fashion the hero. The evidence of his heroics are found the day before he dies from pneumonia: outside Johnsy’s window are a ladder, a lantern still lighted "some scattered brushes, and a palette with green and yellow colors mixed on it . . . it’s Behrman’s masterpiece--he painted it [a leaf] there the night that the last leaf fell"(19), Sue informs Johnsy.
Zimmer's poem begins with policy guidelines for landlords whose elderly tenants may be calling the switchboard more than three times per month for health emergencies. According to the guidelines, such patterns suggest that the resident, no longer capable of independent living, can be moved to a health care center.
In response to the policy passage, an advisory poem is constructed by the narrator for his own father who, we can assume, values his independence. In essence the son advises silence about medical events such as a fall: "tell no one." If an ambulance should arrive, don't get in.
The strong warnings reflect contemporary health care systems in which the prevailing practices correspond to Dante's Inferno, particularly the tenth circle. At that level, everyone faces one direction and people are "piled like cordwood inside the cranium of Satan." Cries for help are unheard and unanswered.
Summary:The speaker enumerates the pleasurable activities of daily life: getting out of bed "on two strong legs," walking the dog, lying down "with my mate," planning another day "just like this day." Counterpoised to these enumerations, however, is the recognition that "it might have been otherwise." Finally, the speaker acknowledges, "it will be otherwise."
A retired professor has returned to his estate to live with his beautiful young wife, Yelena. The estate originally belonged to his first wife, now deceased; her mother and brother still live there and manage the farm. For many years the brother (Uncle Vanya) has sent the farm’s proceeds to the professor, while receiving only a small salary himself. Sonya, the professor’s daughter, who is about the same age as his new wife, also lives on the estate. The professor is pompous, vain, and irritable. He calls the doctor (Astrov) to treat his gout, only to send him away without seeing him. Astrov is an experienced physician who performs his job conscientiously, but has lost all idealism and spends much of his time drinking.
The presence of Yelena introduces a bit of sexual tension into the household. Astrov and Uncle Vanya both fall in love with Yelena; she spurns them both. Meanwhile, Sonya is in love with Astrov, who fails even to notice her. Finally, when the professor announces he wants to sell the estate, Vanya, whose admiration for the man died with his sister, tries to kill him. But the professor survives and he and Yelena leave the estate.
Summary:This is a collection of poems by members of an AIDS workshop run for Gay Men’s Health Crisis in New York by poet Rachel Hadas. The poetry is framed by an introductory essay by Hadas, "The Lights Must Never Go Out," and a long concluding chapter that includes Hadas’s reflections on the poetry collection, her own experiences with illness, and many of her own poems.
The story begins as an MRI technician assures Baily that "Contrary to popular opinion, . . . this is not a torture device." The test was ordered because her arm suddenly went numb and she suddenly lost most of her vision during algebra class. With no idea what's wrong, Baily speculates about the possibility of a brain tumor, about how disease will change her life, about early death. She is uncomfortable with her mother's cheery reassurances, which consist mostly of simple theories like the possibility that Baily was reacting to missing lunch, but wants them, nonetheless.
Since the pediatric wing is full, she is put in a room with an old woman for observation overnight. The nurse runs her through a series of highly irrelevant questions about her physical health from drug use to dentures. Then her mother is required to leave for the night. In the morning they take her for an EKG before her mother can get there; Baily returns to her room in a state of morbid conviction that she's dying, which is finally overturned when the doctor comes in to explain to her that she had a classic case of severe migraine.
Joseph and Celice, a married couple in their fifties, both zoologists, return one day to the coastal dunes where, thirty years before, they had first made love. There they are attacked and beaten to death by a robber. From this starting point, the novel traces three trajectories: their married life, from their meeting as graduate students working at this beach; the course of their last day, traced backwards, or undone, until they are back in bed, asleep, that morning; and the first week of their death until they are found and taken away by the police. The changes that take place as their bodies decay are meticulously described. At the end of the novel, nine days after their death, the grass has recovered and there is no sign they were ever there.
Daniel Coulombe (Lothaire Bluteau) is engaged by a Montreal priest to improve on the parish's tired passion play. He is quietly excited by the possibility and invites a group of old friends to join him in revitalizing the ancient tale. They will stage the performance outside by torchlight on the crest of Mount Royal with the lights of the vast city flickering below. The script is modern, visceral, and engages the audience. The actors all manage to improve their life situations if not their finances: a man gives up dubbing scripts for porno movies; a woman leaves an abusive partner to become the Magdalene.
At first, the priest is pleased by their efforts, but he looses confidence and credibility when Coulombe finds he sleeps with one of the women actors. The play is a huge success, but nameless clerical authorities are disturbed by the vibrant sexuality and the avant garde performance; in the absence of support from the priest, "they" revoke the right to perform.
The defiant troupe performs anyway, hoping the police will be sympathetic. A naked Coulombe is arrested off the cross in the midst of his crucifixion scene. A scuffle ensues and he suffers an accidental head injury. Taken by ambulance to a busy hospital, he is neglected, but recovers enough to sign himself out, only to collapse in a subway station. Attended by the two dismayed and disoriented women, he is again taken to hospital where he dies.
Mohammed (Mohsen Ramezani), an eight year old blind boy attending a special school in an Iranian city waits for his widowed father (Hossein Mahjub) to bring him home to his isolated, but idyllic Iranian village for summer recess. During several interminable hours of waiting outside the school, viewers come to recognize the boy’s sensitivity to his surroundings. Through sound and feel he is at one with nature. Remarkably, he is able to rescue a vulnerable baby bird and return it to the tree branch nest from where it has fallen.
Unfortunately, Mohammed’s father fails to exhibit this kind of care with his son. The tardy reunion is painful: rather than embracing the boy, the father requests that school officials keep the boy during the recess. When the request is refused by embarrassed faculty members who are sympathetic to the child’s family needs, father and son begin the long walk, then bus ride into the distant countryside.
In contrast, Mohammed receives a warm and loving welcome from his Granny (Salime Feizi), his sisters, and the neighboring children. Immediately, the children run with him into the meadows to explore and celebrate. Clearly, this is Mohammed’s nest.
Even though Mohammed’s abilities at the local school are superior to those of his classmates and even though he is able to function in normal play with his peers, the father focuses only on the boy’s removal from the family and the village so that he can find a new wife to care for him and his other children. The unprepared boy is taken abruptly by his father to a blind carpenter many miles away where he will serve as an apprentice. Although the carpenter is kind, Mohammed is devastated by the cruel separation from Granny and the children.
Unburdened, the father goes forth with plans for another marriage, but before the arranged ceremony occurs both the heartbroken Granny and Mohammed die. The bride-to-be and her family regard these losses as unhealthy portends. Marriage plans are canceled. Only then, does the father recognize his own blindness.
Whether he is bringing to life the farmers in Grant Wood's "American Gothic," or revealing the pain of losing his wife (The Lu Poems), John Stone's work always hits the mark. This collection revolves around themes as varied as music, family, the wonder and horror of being alive in the world, and Stone's own sleep disorder. There are few poems specifically about medicine: "Transplant," "While Watching His Own Electrocardiogram He Welcomes in the New Year," and "Coming Down from Prozac."