Showing 421 - 430 of 519 annotations tagged with the keyword "Mourning"
While still dating, Sami learns that she is pregnant by Steven. The couple gets married and begins the transformation into prospective parents. Steven's study is turned into a nursery. Sami starts bleeding during the pregnancy and she is placed on bedrest. Unfortunately, Sami has a miscarriage.
When Steven finally decides to clean out the nursery, he finds a sad child occupying the room. Sometimes the baby disappears. After Steven informs his wife about the nursery's occupant, Sami is initially upset but soon she too sees the baby. She dubs the child "Stevie" and accepts the boy as her own, even nursing the baby. Slowly Steven comes to embrace the child as his son, unsure what he had resisted for such a long time.
The scene is a sickroom in which the narrator stands at his dying sister's bed. He wishes that she could be "snatched up / to die by surprise" without ever knowing about death. The sister speaks, "I am in three parts." One is red for pain, one is yellow for exhaustion, and the other is white: "I don't know yet what white is."
The narrator stews for a while in his fears of dying, but his sister speaks again, saying that she is not afraid, but, "I just wish it didn't take so long." "Let's go home," she suddenly says, and he recalls images of their youth, and these images shuttle back and forth into the sickroom until at the end of the poem, "they ratchet the box holding / her body into the earth . . . " [79 lines]
We visualize Cousin Arthur's wake through a child's eyes. It is winter in Nova Scotia, the parlor is cold, and above the coffin are photographs of two royal couples, "Edward, Prince of Wales, / with Princess Alexandria, / and King George with Queen Mary." A stuffed loon sits on the marble topped table. The dead cousin "was all white, like a doll / that hadn't been painted yet."
The child's mother lifts her up to the coffin, so she can place a lily of the valley in the dead boy's hand. The two royal couples look like they are inviting Arthur to accompany them as "the smallest page at court, " but how can he go with them because the snow is so deep and his eyes are shut? [50 lines]
This collection of 20 essays continues and expands upon the theme--how we living care for our dead and incorporate them into memory--that Thomas Lynch, a poet and undertaker, introduced in his first book, The Undertaking: Life Studies from the Dismal Trade (see this database).
In this new book, Lynch writes rambling pieces that begin with some observation about his funereal trade then blaze off into musings about religion ("The Dead Priest"), love and divorce ("The Blindness of Love," "Y2Cat"), poetry ("Reno," "Notes on 'A Note on the Rapture to His True Love'"), and the interplay of mortality and morality ("Wombs," "The Bang & Whimper and the Boom"). In his first book, Lynch wrote scathingly of abortion and mercy killing, and here he continues his thought provoking considerations of both.
In what might be the most interesting and radical essay in this collection, "Wombs," Lynch walks a precarious line between pro-life and pro-choice rhetoric; ultimately, he asserts a woman's right to abhor decisions about her body that "leave her out." At the same time, he asks if the reproductive choices available to women, "when considered for men," might not seem "irresponsible, overly indulgent, and selfish." What if, he writes, men could declare (without stating their reasons) their interest in their unborn children "null and void, ceased and aborted?" Lynch, who spends most of his time in the contemplation of the deceased, seems to find in death a spark of life; then he fans it into flame with language.
Gabriel McCloud, 18, has just been killed by driving his truck into a tree while intoxicated. The small town goes into shock. The chapters of the novel are narrated successively by key people in Gabriel's life: his girlfriend; a teacher who saw his potential and gave him extra chances he needed; his embittered and violent father; his two brothers, an uncle who has been estranged from the family for years; the son of the local mortician; a buddy; the sheriff. Each of them goes through a particular kind of shock, grief, and reflection following the loss.
Jennie, Gabriel's girlfriend, pregnant with Gabriel's baby, decides to take herself to the beach and commit suicide. She sits for some time on a rock that will soon be buried by the rising tide, but is eventually spotted and rescued by a man she has feared and despised: Gabriel's father. The various voices that give us vantage points on Gabriel's difficult life and violent death testify also to how important even the life of a somewhat wayward, underachieving, confused teenager can be to a community of people who recognize him, some belatedly, as a gift.
The novel, set in the 1950s in the prep school town of Gravesend, is an extraordinary account of friendship, coming of age, families, "normalcy," politics, faith, and doubt. The title character is an unusually small child--as an adult barely five feet tall--with a strange and striking voice that makes many people uneasy.
The only son of a New Hampshire granite quarrier and his odd and reclusive wife, Owen is best friends with Johnny Wheelwright, the narrator of the book and grandson of one of the town's most distinguished families. The friendship is sealed by a freak accident when Owen hits a baseball that kills Johnny's mother, Tabitha, who is just arriving at the game.
The remainder of the novel is a back-and-forth between past and present as Johnny searches for his identity--his mother is unmarried and never reveals the father's name--and Owen searches for his destiny--he believes that he is an instrument of God. Both searches have amazing resolutions.
A 199-page collection of twelve essays by undertaker and poet Thomas Lynch, superficially about his mortuary trade, but actually about much more--life and death; the process of mourning; how we human beings pass though our common lives with grace or desperation; how the graveside ritual serves memory, family, and society. In the preface, Lynch says that early on he came to understand that the undertaking trade he would inherit from his father had little to do with what was done to the dead, but everything to do with how the living responded to the deaths of loved ones, neighbors, and friends.
Particularly outstanding essays include "The Undertaking," in which Lynch divulges the practical and emotional secrets of his trade as he buries Milo, a man who owned a Laundromat; "Crapper," a humorous, rollicking essay that demonstrates our modern society's inability to deal either with the thought of dying or the actual dead body; "The Gulfatorium," a flight of fancy about building a graveyard in a golf course, but really about the nature of suffering and the afterlife; "Mary & Wilbur," about neighbors, about our fear of death and our impulse to memorialize; "Uncle Eddie, Inc.," about an uncle's "clean-up service" that sanitized rooms after messy suicides and about the natural order of life and death and the moral implications of our manipulation of that order through assisted suicide, abortion, and genetic manipulation. My personal favorite is the final essay, "Tract," in which Lynch says how he wants his own death and burial to be managed, how he, a witness to our final rituals, wants to be witnessed.
Peppered with a plethora of black and white stills, this book is a compilation of a physician's film reviews and reflections on how movies have mirrored the changes in medical care and in society's attitudes towards doctors and medicine over the last sixty years. Ten chapters blend a chronological approach with a thematic perspective: Hollywood Goes to Medical School; The Kindly Savior:
From Doctor Bull to Doc Hollywood; Benevolent Institutions; The Temple of Science; "Where are All the Women Doctors?"; Blacks, the Invisible Doctors; The Dark Side of Doctors; The Institutions Turn Evil; The Temple of Healing; More Good Movie Doctors and Other Personal Favorites.
The appendices (my favorite) briefly note recurring medical themes and stereotypes ("You have two months to live," "Boil the Water!"). Formatted as a filmography, the appendices reference the chapter number in which the film is discussed, the sources of the photographs, and a limited index.
Alan Shapiro, poet and professor of English at the University of North Carolina, Chapel Hill, chronicles the life and death of his sister, Beth, who died of breast cancer at the age of 49. Beth lived the last four weeks of her life at a hospice in Texas--this memoir traces those weeks in particular and refracts them against decades of family dynamics, turmoil and triumph. The memoir is composed of 14 tersely named chapters ("The Death," "The Joke") followed by "Afterwords": six poems about Beth.
Alan is the youngest of 3 siblings; Beth was the oldest and David, an actor is the middle child. Despite, or perhaps because of their age difference, Beth and Alan were very close. It was he whom she asked to write her eulogy and it was he who stayed the entire 4 weeks of hospice, save for a brief trip home. From Alan's love and devotion grows an admiration for Beth's integrity in life and death.
Beth married an African-American man, fought for liberal causes, and suffered complete estrangement from her parents due to her choices. Her husband, Russ, must deal not only with the loss of his wife and their daughter's loss of her mother, but also with the prejudice of the Shapiro parents and the medical establishment. At one point Shapiro describes how, whenever he accompanied his sister and her husband to the doctor's office, Alan, not Russ, was treated as the spouse and decision-maker.
Shapiro vividly depicts the poignancy of parent-child relationships. Gabbi, the seven-year-old daughter who loves horses, gallops through the house with grace and abandon not possible at the hospice. Alan's anger at his father's actions and his forgiveness of his mother's accomplice role are also strongly demonstrated. A great strength of this book is the choice of detail: the mother completes a book of crossword puzzles during the vigil; the brother becomes infatuated with a particular joke he wants to memorize; nurses leave a solitary rose on the bed of the newly dead at the hospice.
Shapiro is keenly interested in being with his sister right at the moment of her death. He describes the end: "one long, deep, and profoundly eerie moan . . . That moan, I'm certain, marked the end of Beth, the end of life, though the body went on breathing for another minute or so, each breath a little fainter, weaker, the body's electricity guttering down, dissolving, till there was no breath at all." (pp. 111-2)
He also analyzes whether this was "a good death." There had been many gifts: Beth's recognition of her importance, her reconciliation with her father, and her acceptance of her mother's devotion. However, Shapiro also keeps the reader cognizant of Beth's suffering and the now motherless child, the spouseless husband and the myriad other ways that Beth's death marked a void.
This collection's first section contains eight poems that address AIDS. "Inventory," a listing of the author's acquaintances who have died of AIDS, catalogs a variety of responses to this illness. Other poems are stark portraits of death in progress ("Waste Not," "Photo") as well as evidence of the love and coping skills a diagnosis of AIDS elicits ("Althea," "In Time of Plague," "Sonnet Positive"). "The Review" ironically compares a popular movie about AIDS to its reality: in the movie, family members do not flinch from kissing their infected son.
The second section addresses coming out as a Lesbian ("In the Duchess"), domestic violence ("Beatings"), and Lesbian sexuality and relationships ("Hunger" and "Want"). "My Body" is another effective "list" poem, a catalog of the female body and how its physical dimension becomes the visual history of a life "healed and healed again."
The final eight poems examine the difficult relationship between a daughter and her dying mother. The book comes full circle as the "swift river" (death from AIDS) of the book's opening poem becomes the "cold river" the speaker now swims in, a metaphor for internalizing a mother's "bitter edge" as well as the accumulated deaths of friends and lovers ("Cold River").
"To Spirit," "Journey," and "Here" regard the daughter's deathwatch over her mother. The remaining five poems serve to balance loss and hope, especially "Legacy," in which the narrator accepts how age is transforming her own body into her mother's, "her scared eyes shining in triumph."