Showing 441 - 450 of 539 annotations tagged with the keyword "Aging"
Four ghosts visit the miserly businessman Ebeneezer Scrooge on Christmas Eve. After the apparition of Scrooge's dead business partner Marley, the ghosts of Christmas Past, Christmas Present, and Christmas As Yet To Come guide Scrooge through his own emotionally charged past, his harsh and loveless present, and his bleak future. The vision of his own headstone and the realization that no one will mourn his death force Scrooge to see the error of his "Bah! Humbug!" attitude toward humanity in general and Christmas in specific.
The primary recipients of Scrooge's moral rebirth are his poor clerk Bob Cratchit and his family, especially the crippled boy Tiny Tim. When Scrooge wakes from his ghostly visitations, he delivers a huge turkey to the Cratchit household and gives Bob a raise. He becomes a "second father" to Tim and reconciles with his own nephew.
Adolescent orphan Nell Trent escapes with her gambling-addicted, mentally infirm grandfather from the villainous "dwarf" Daniel Quilp, to whom the old man, obsessed with making Nell wealthy, has lost his money and his shop. Quilp and a host of other malevolent and benevolent characters track the pair's journey through urban, rural, and industrial England. When the good characters reach the peaceful hamlet where Nell and her grandfather have settled, Nell has just died, soon to be joined by her grief-stricken grandfather.
An engaging anthology of writings about illness, from over 330 sources, literary and medical, men and women, ranging from Deuteronomy and Hippocrates to Virginia Woolf and Oliver Sacks. Readable explication introduces the chapters devoted to various themes, a list of which will serve best to illustrate the scope.
1. Generalities; 2. Illnesses (greater and lesser); 3. Eyes, Ears and Teeth; 4. Doctors and Cures; 5. Hospitals and Patients; 6. Philosophers and Kings; 7. Intellectual and Spiritual Frets; 8. Strange Complaints, Mishaps, Embarrassments; 9. Imaginary, Feigned, Psychological; 10. Melancholy and Love Sickness; 11. Manias, Phobias, Fantasies, Fears; 12. Breakdown and Madness; 13. Young and Old; 14. Animals; 15. Invalids and Convalescents; 16. Short and Sharp (a collection of pithy aphorisms about illness).
In the fictional present of Evening, Ann Lord is diagnosed with terminal cancer and spends most of her time in her own bed in her house in Cambridge, Mass, drifting in and out of a medicated sleep, cared for by her adult children and various private nurses. In her reveries Ann returns to a weekend some forty years earlier, and re-experiences meeting a young doctor named Harris Arden and finding and losing the only true passion of her life. As Evening moves episodically between present and past, only the reader can see both Ann's dying, nearly motionless body and the hidden, vital world of her memories.
Ironically, while Ann's remembered youth forms a suspenseful plot, full of romance and tragedy, her full adult life seems to have been signally lacking in any of the passion, focus, and vitality that characterized her young womanhood. The best times of her life were literally over when that weekend in the past came to an abrupt and tragic close; and now, as her own life ends, it is this past "best time" that she returns to. Ann's children, friends, and caregivers only see her as a relatively young woman, dying a tragically early and painful death; they never grasp the content or intensity of her inner life, or know the name of the man who meant most to her.
The poet Donald Hall reflects in this journal-memoir on the meaning of work and "a life's work." He describes his daily life and work over a period of three months, interspersed with stories about his family, particularly his New Hampshire grandparents on whose farm Hall now lives.
Halfway through the book, Hall discovers that his colon cancer has metastasized to the liver. He undergoes surgery to remove part of his liver and subsequently recovers from the immediate effects of surgery. At the end of the book, he is ready to begin chemotherapy.
In 1978, seventeen-year-old Rosemary Mahoney spent her summer as housekeeper for author Lillian Hellman. A great admirer of Hellman's life and writing, Mahoney had applied directly to Hellman for the job, and could hardly believe her good luck in being hired. By the end of her first week of work, however, her mother had to talk her into staying.
Hellman, in her early seventies, was demanding, exacting, infuriating--and frail, nearly blind, forgetful, and lame. As Mahoney tells Hellman's story, she also tells her own, the daughter of a physician father who committed suicide when Mahoney was a child and a schoolteacher mother who was crippled by polio and is an alcoholic.
The poet stands by the bed of his afflicted mother "as my colleague prepares the syringe." His mother's right hand is still moving, but her left hand is "suspiciously still." He thinks of Death's "random, katabolic ways: / merciful sometimes, precise, but often / wild as delirium."
Various images of suffering rise in his mind--a botched suicide, a victim of war, David and Bathsheba, out of whose suffering came forth "the wise child, the Solomon." But, he asks, "what will spring from this / unredeemed, needless degradation, / this concentration camp for one?" The colleague injects the medication, while Death victoriously holds the poet's mother's left hand and "I continue uselessly / to hold the other."
Rachel is married to passive Leon who is utterly dependent on her care and organizational skills. They live in a vast, blanc-mange of a suburb where Rachel constantly looses her way while driving home from work. One night, she seeks direction from Wilkes. A strange recluse, he is obsessed with his teenage memory of the lost "girl on the bus" and leads a support group for agoraphobics.
Through contact with Wilkes, Leon gradually grows more independent and finds himself a job. Rachel becomes obsessed with the search for the meaning of "Harry," a mystery man who recurs in her husband's dreams and begins to take over her thoughts. She consults a psychologist, Alex Silver, who soon has Rachel enrolled in a study with two other women. Silver uses dream-deprivation with the goal of enhancing insight about her marriage, her life, and her friends.
Cameo appearances of three depressive, mid-life siblings, Dick, Jane, and Sally, with their dog, Spot, and cat, Puff, emphasize that life in modern suburbia can be a pathology in itself. In Jane, Wilkes finds his lost girl on the bus. Rachel dumps Leon and finds happiness with the agoraphobic developer of the aptly named "Arcadia Centre," where expense, space, light, greenery, and intimacy are employed unstintingly to create a non-pathogenic space for human collectivity.
Helen Martin is an expert on medical art. She travels by train through Europe--Vienna, Prague, and Munich--looking for her journalist husband who has vanished for a longer time than usual. Their marriage is childless and flat. On the train, she awakens to temporary but surreal changes in her body--her breasts are enormous, her thighs huge. She meets her alter ego, Rosa, an obese and aging woman doctor, and original owner of the sizable breasts and thighs.
Rosa’s gift of a strange book-like box, containing images from Vesalius, bones, vials, leads her to many other people, including a blind intellectual, a philosophical train conductor, and a soon-to-be-murdered museum curator. These people add objects to the box, while removing others and awakening her dormant senses and identity in the process.
Helen learns that her husband disappeared while researching a story about woodblocks from the great 1543 anatomical atlas by Andreas Vesalius. The woodblocks are believed to have been destroyed in the allied bombing of Munich in World War II, but Helen suspects some have survived. She picks up the work where he left it. The rediscovery of her husband--temporarily at home in Vancouver and irritated not to find her there--comes as an anti-climax. Helen realizes she does not want him any more and boards another train to we know not where.
The young English doctor, Mary Percy Jackson (M.D. Birmingham 1928), went to practice in northern Alberta for a year. She had been recruited by a philanthropic movement that targeted women doctors: they could be paid lower wages and would also cook and keep house. But she fell in love with the subarctic community, its native peoples, and a certain widowed farmer with two young sons, and stayed for the next seven decades.
Dr. Jackson became the only physician responsible for the well being of aboriginals and settlers in a wide radius of remote territory where winters last more than six months and the only effective mode of transportation was the horse. Married and in relative prosperity, she did not seek payment for her medical work, although she appreciated gifts in kind.
Despite the isolation, Jackson was vigilant about nutrition, vaccination, and tuberculosis control and she kept up with the latest advances in health promotion. She and her husband were active in improving opportunities for education. The film closes with a simple party for Jackson, at the local school named in her honour.