Showing 431 - 440 of 582 annotations tagged with the keyword "Individuality"
The story begins with a group of young people on a riding party at the Shelestov estate. One of the guests is Nikitin, a young-looking man in his mid-20’s, who teachers literature at the local school, and loves Masha, the 18-year-old younger daughter of their host. Later, over dinner Varya, the older daughter, argues with Nikitin over some points of literature, and another guest scolds him for having never read the German writer, Lessing. But Nikitin glides through the evening on a cloud of love. A day later he returns and proposes to Masha.
In the second part of the story, the wedding occurs. Nikitin and Masha are deliriously happy--"’I am immensely happy with you, my joy,’ he used to say, playing with her fingers or plaiting and unplaiting her hair." But soon one of Nikitin’s friends and fellow teachers develops erysipelas and dies. After that, everything returns to normal, so much so that Nikitin has nothing to write in his diary.
Life seems to be closing in on him. He feels like trying to get away from his wife, "Where am I, my God? I am surrounded by vulgarity and vulgarity. Wearisome, insignificant people, pots of sour cream, jugs of milk, cockroaches, stupid women . . . There is nothing more terrible. I must escape from here, I must escape today . . . "
Penny (Michele Hicks), working as a prostitute, is called to a room in a seedy hotel where she finds her client is a pair of adult conjoined twins, Blake and Francis Falls (played by identical but not conjoined twins, Mark and Michael Polish, who also co-wrote the screenplay). Shocked, she flees but later returns and, when she learns that one of the twins is ill, calls a doctor friend of hers to examine them. She cares for the twins and they become friends. At Halloween, "the only night of the year they [can pass for] normal," she takes them to a party and then back to her apartment where she and Blake almost make love while Francis, evidently the weaker twin, is sleeping.
She tells her lawyer/pimp about the twins, and he tries to persuade them to sell him their story (which he imagines in terms of separation: "The greatest divorce of all time: not who gets the kid but who gets the kidney . . . "). Offended by her betrayal, they return to their hotel room, and, apparently for the first time, the twins fight. Blake wants to get away from his brother.
The next morning Francis is ill once more, and the twins are hospitalized. Michele visits them and learns that they are dying. Francis's heart is becoming weaker, straining Blake's, and the only way to save Blake will be by separating them. Francis cannot survive separation. Penny tracks down their mother (Lesley Ann Warren), who gave them up for adoption at birth. She visits them in hospital. It emerges that Penny herself has a "retarded" child who is being raised by others. Francis's heart fails, and the twins are taken to the operating room.
Later, Penny tracks Blake down where he is now living alone in the trailer where the twins had lived before, as circus performers. The film ends with Blake, now a man with one arm and one functioning leg, telling Penny that the "story of me is over," but also that stories continue after sad endings. What makes an ending sad, he tells her, is the knowledge that the storyteller is continuing without you.
The author of this chapbook of poems is the chaplain of a large geriatric outpatient unit in Iowa City. Her In Strange Places is a series of 23 "poem portraits," each one of them a short narrative that speaks for one of the patients who is "not to be defined by illness and years and deserve(s) to be free of the condescending devaluing attitudes" that the elderly often encounter." (p. 3)
The poems are particularly eloquent in speaking of the progressive losses of aging. For example, there is "At Ninety: Embers of a World," which depicts two elderly persons as they "decompensate in sorrow." (pp. 8-9); and "Of Late I Have Taken to Falling," in which a patient describes her recent falls, but concludes, "I shall not / fall again." (p. 16-17).
Other portraits deal lovingly with an "impressively calm" dying matriarch ("CHF and the Matriarch, p. 6) and "The Good Storyteller" (pp. 18-19), who "wants her life / to begin again / to call her out / to play her part / once more with / cleaner closets / open doors." In "Funeral Plan" (p. 22), we meet an elderly woman carefully considering the magnificent array of flowers she plans to have at her funeral, "no hot house roses please," but great expanses of seasonal flowers: "ditch lilies / apple blossoms / naked ladies . . . " and so forth.
This history play narrates the rise to power through treachery and murder of Richard Plantaganet, Duke of Gloucester and last king of the House of York. Set in England during the Wars of the Roses (1455-1485), the play opens after the Lancastrian King Henry VI and his son Edward have been killed and Richard’s brother has been crowned Edward IV.
In the course of the play, Richard woos and wins Prince Edward’s widow Anne Neville and engineers the murders of his other brother (George, Duke of Clarence), his nephews, his closest advisor, possibly his wife, and other members of the court. He is crowned king but later dies a violent death in the Battle of Bosworth, defeated by Henry Tudor, Duke of Richmond, who will become the first Tudor King Henry VII.
When Gerald is three, his mother, a drug addict, leaves him alone one time too often and he accidentally sets the apartment on fire. His mother is imprisoned for negligence, he goes to the hospital, and thereafter lives with "Aunt Queen," a great-aunt who exercises considerable authority from her wheelchair, and gives him all the love his mother hasn't.
When he is 9, however, his mother returns with a new sister and a man who claims to be the sister's father. They want to take him "home"; Gerald wants to stay with Aunt Queen. The matter is settled unhappily when Aunt Queen dies of a heart attack.
Gerald soon learns to despise his stepfather for his violence and, eventually, for the abuse of his half sister, which she hides out of fear until she's driven to confess it to Gerald in hope of his protection. Their mother remains in denial about that problem as well as her own and her husband's addictions to alcohol and drugs.
Caring for his sister, however, keeps love in Gerald's life. In defending her one last time, the apartment catches fire and his stepfather is killed. As he, his sister, and his mother ride away in the ambulance, a flicker of hope survives in the darkness for another new chapter in family life, this time without violence.
This is a rich and diverse anthology of poetry and of prose extracts, both fictional and non-fictional, about becoming a parent. It is organized into three chronological sections: "First Stirrings," about becoming and being pregnant (or of having a pregnant partner: the father’s perspective is refreshingly well-represented throughout), "The Welcoming," about labor and birth, and bringing home the newborn, and "Now That I am Forever With Child," about being the parent of an infant.
Each section contains a cross-section of views, from, for instance, Elizabeth Spires’s languid letter to the fetus inside her to Rosemary Bray’s candid account of her ambivalence about being pregnant; from Julianna Baggott’s thoughts on the Madonna and child, and A. S. (Antonia Susan) Byatt ’s rather frightening description of giving birth in a British hospital in the 1960s, to Hunt Hawkins’s sad poem about holding his dying newborn daughter; and from Jesse Green’s memoir as a gay parent adopting a son to Kate Daniels’s prayer for her children.
The anthology ends with the powerful poem by Audre Lorde that gives its title to the book’s last section. Lorde encapsulates the astonishing change of focus and identity at the heart of becoming a parent.
This collection of 36 poems, some of which have been published individually in various literary magazines, is primarily about dead--or nearly dead--family members: a brother and sister lost to cancer; the speaker's palsied, nearly blind father dying of Parkinson's disease; his mother's struggle with chronic arthritis and heart disease.
The collection is divided into three untitled sections. The first deals primarily with the aging and death of the speaker's parents; the second with a wider range of abandonment and death, lost loves, dreams, innocence; the third almost exclusively with his sister's six year struggle with breast cancer and dying.
This delightful, provocative collection is subdivided into five sections that are not easily categorized. Rios, who grew up in the borderland culture of Nogales, Arizona, writes about this culture and his childhood (sections 1,5), family and local legends (section 1), the Sonoran desert and its animal life (section 4) and the complexities and wonder of human experience and human relationships (all sections). Rios deals with both the real and the imagined, often moving from the former to the latter. Deceptively simple language lures the reader into the rich, original landscape of the poet’s vision.
Tim Metcalfe is an Australian general practitioner who gave up medical practice to become a full-time poet and writer. A statement on the back cover summarizes the process in relation to this collection of 38 poems: " ’Cut to the Word’ is a moving account of one man’s transition from doctor to poet." He begins with the customary initiation: "We were introduced, respectfully, / to the volunteer dead . . . " (p. 13) He discovers the limitations and uncertainties of his new profession: "In tense moments / I wish my stethoscope / was all they want it to be." (p. 18) And the omnivorous demands of medicine: "I come home from work / and there it is: the family / the oldest crying / at the youngest crying / at her mother’s anger / at her crying . . . " (p. 21)
Metcalfe carries the reader through a series of short, incisive poems describing the doctor’s day-to-day work ("Morning Session, " pp. 47-50), as well as through a number of disturbing poems about the world of mental illness, but the book’s climax--so to speak--arrives with "The Doctor’s Complaint, " in which the physician heals herself "by laying down her stethoscope / and walking right out / of that in-patient clinic." At the end the poet writes, "Like a patient I have learned silence . . . Fine steel scissors in hand, / I cut to the word." (p. 63)
Lance Armstrong, (currently) four time Tour de France cycling champion, is a survivor of metastatic testicular cancer. This book is largely the story of how his life changed from the moment of his diagnosis (October 2, 1996) onwards. He had been a world class cyclist prior to cancer, but his experience with cancer gave him profound insight not only into his life as a cyclist and competitor, but into life itself.
It is this latter insight which he recognizes as ultimately the most important aspect of his cancer experience. Armstrong notes: "Odd as it sounds, I would rather have the title of cancer survivor than winner of the Tour, because of what it has done for me as a human being, a man, a husband, a son, and a father." (p. 259)
Written in a conversational, straightforward tone, the book chronicles Armstrong's childhood in Texas as the son of a strong, loving, supportive, financially struggling, young mother; his beatings at the hands of a step-father; and his early excellence at endurance athletics. Armstrong became a brash powerhouse cyclist and began to enjoy the material rewards of winning while ignoring the onset of symptoms. At the time of diagnosis, the cancer had spread to his abdomen, lungs and brain.
He documents his search for optimal care, sperm banking, lack of health insurance, surgeries, chemotherapy, self-education and interactions with doctors and nurses. Through it all he acknowledges the tremendous support of his mother and friends, as well as sponsors who stuck with him with no assurance that he would survive, let alone race.
Before he was even through the first year, he decided to start a charitable organization, The Lance Armstrong Foundation, dedicated to cancer research and support of cancer survivors. Through this effort he met his future wife, Kristin Richard (Kik), and her love and support helped him through the dark days of emotional soul-searching post-treatment. The book also details her struggles with successful in vitro fertilization (They currently have a son and twin daughters).
Chapter Nine, The Tour, is an in depth look at the 1999 Tour de France which Armstrong won with the help of his US Postal Service teammates, expert coaching, and his will. This race is brutal, dangerous, and as Armstrong notes, both "a contest of purposeless suffering" and "the most gallant athletic endeavor in the world." (p. 215) He details the maneuvering in the peloton, the strategies, the stages and personalities.
The book concludes with reflections on the birth of his son, the anniversary of his cancer diagnosis, the love of his wife, and his need to ride.