Showing 451 - 460 of 468 annotations tagged with the keyword "Time"
This is a film story in which non-professional actors play themselves. It concerns six old women and their bus driver, a middle-aged woman (Michelle Sweeney), who, when their bus breaks down, are stranded in an isolated countryside. In the two days that follow, they find shelter in an abandoned and derelict house, conspire to find food, and learn about each other and themselves through personal disclosure and storytelling.
Before meeting any of the women, the audience hears their child-like chatter and laughter as they emerge from a deep fog cover into the sunshine. Clearly the women are old, but viewers soon regard them as sisters at recess giggling at the novelty of their unexpected adventure, happy to be in good company. When they reach a dilapidated and deserted house, it offers no amenities: no beds, no electricity, no water, no food. Each woman approaches the situation in a different way, but there is a buoyancy and resourcefulness about them in spite of some possible apprehensions concerning rescue and survival.
Any notion that this is a group of interchangeable old women is quickly dispelled. Separate stories unfold against spectacular scenery and humble shelter, as they try to fix the bus, catch fish with pantyhose, hunt for frogs, collect hay for mattresses, paint, laugh, sing, and sigh. In contrast to the current portrait, additional glimpses of the women are provided by superimposed photographic montages or snapshots of each character when she was younger.
One woman (Mary Meigs) is a lesbian, another a nun, another a survivor of stroke. Some are braver than others, and some have moments in their past that, when alluded to, are profoundly moving. One, we believe, is especially vulnerable and ready to die. Another, Cissy (Cissy Meddings), makes us laugh out loud; stooped and stroke-addled, she is full of life and silliness, while enduring the quiet pain of a partially explained isolation from her son and grandchildren, only the facial expression and eyes letting on. Catherine (Catherine Roche) the nun, who will make the long walk for eventual rescue, brings a serenity to the group, while a good-natured and extremely resourceful Mohawk elder (Alice Diabo) demonstrates both strength in the face of adversity and unhappiness in recollections of her marriage.
Their outer bodies belie the inner sense of being. Except for one woman who wears a wig to cover her thinning hair, none of the characters are concerned about their appearances. We may see them as old, but their actions and spirit suggest playfulness, creative energy, and wisdom. Their options may be gone or diminished, but they think of themselves as ongoing persons with much more to say and do.
Except to say that the women survive the ordeal, there are no resounding triumphs. Viewers, possibly the strangers referenced in the film’s title, gather with the good company of old women to learn about life and themselves, especially the vitality and worth of persons frequently isolated from mainstream society. For a brief time, a new society gathers and sifts experience for mutual benefit. We know about the darkness to follow and wonder what their lives will be when they are found, when this moment has passed.
Summary:The narrator describes the profound impact of motherhood on her life, so profound that she can barely remember a life without children. There has been a conversion to total commitment, " . . . that / instant when I gave my life to them," but when and how did it happen?
This anti-war novel is written from the point of view of an injured World War I infantryman (Joe Bonham). As the plot progresses we realize how severe the injuries are (most of his face has been blown away and eventually his arms and legs must be amputated--leaving a faceless torso) and why the story is being told by an interior monologue voice.
Interspersed with recollections of Joe Bonham's life is a description of his amazing struggle to remain human. Joe's quest begins with a search for "time," and once time has been found, he begins to "organize" his world. After many years of struggle to orient himself, he tries to reach out to others by "communicating" with them. Unfortunately, his initial attempts to move his head in Morse Code are initially misconstrued as seizures, for which he receives sedatives. Eventually, a nurse new to his care realizes what he is trying to do and informs his doctors.
What Joe wants most is to let the world know about the horrors of war. He assures his keepers that he could support himself in this venture if only they would let him out (people would be glad to pay to see a "freak" such as himself). The answer he receives in return, one which had to be "literally" pounded into his forehead: "What you ask is against regulations."
Summary:This poem is one of several by Stephen Dunn in which the dynamics of married life are examined. The speaker begins by saying that in marriage "anything that can happen between two people" eventually will, including things that cause incredible hurt and pain. The couple portrayed in the poem stays together through tacit agreement; whatever the hurtful event, neither refers to it. Instead, conversation centers on harmless subjects such as the garden, work, and little aches. While living together in the same house, the couple remains separate because forgiveness is not forthcoming for the spouse who trespassed.
De Quincey was a well-known 19th century English journalist and essayist. He was orphaned at a young age and sent away to school, where he was successful but bored and soon ran away. He then spent several years living as a vagrant in Wales, then London. In London, he was reunited with an old family friend who supported him financially and sent him to study at Oxford.
At age 28, De Quincey began to use opium (mixed with alcohol in the form of laudanum) regularly to treat his severe stomach pains. Though his intake was moderate at first, he soon became addicted. At first he rationalized the use of the drug. Later, he experienced opium-induced stupors in which he could not distinguish dream from reality nor note the passage of time.
He also developed memory loss and long periods of depression. He resolved to wean himself from the drug and did so, although in the final version (1856) of this memoir he admits to having slipped back into addiction a number of times.
Summary:The poet addresses Jerina, a friend and confidant who knows the narrator’s story of childhood sexual abuse at the hands--"the silent fingers in the dark"--of her own father. The poet states matter-of-factly that she long ago realized there could be no safety anywhere if there was none at home. As an adult she took refuge in her work and neglected her personal life, but now "the girl [of whom she had been ashamed] is rising in me" and she intends to "have what she / has earned, / sweet sighs, safe houses, / hands she can trust."
Dunn's poem describes the choreography of married couples after an argument. The narrative voice considers how silence is imposed, then broken and how two people eventually come together after an unpleasant exchange of words. There are, according to the speaker, unspoken rules and rituals. First, a long silence permeates: after all, "whoever spoke first would lose something." In this household drama there is meaning to the clanging of dishes, sleeping arrangements, and accidental touching.
Eventually, one or the other is careless, spontaneously and shamelessly breaking the Yalta-like stalemate with an observation about something ordinary such as a "cardinal on the bird seeder." An accidental comment secures a truce, bringing the couple together in sex, a "knot untying itself."
Summary:Tod Friendly awakens from death, rejuvenates, and becomes a surgeon. In New York he becomes John Young. He travels to Lisbon and a privileged existence as Hamilton de Souza. He leaves Lisbon for Salerno, then Rome. As Odilo Unverdorben he travels north to Auschwitz Central where he resumes his surgical career and conducts research. Through this time he has a series of affairs until he joins his wife. Their daughter dies, they marry, then court. Odilo works as a doctor, then attends medical school. He joins a youth organization and lives with Father and Mother. Finally, he enters Mother.
Summary:A woman who has already lived out more than half of her life lies next to her man, listening to the night sounds of their own breathing, and has intimations of mortality. She thinks of her own mother, who was already dead at this age, and feels she must conserve her very breath. The sexual energy and "soft expensive murmurings" she spends on her lover may cost her--and yet he is oblivious, sleeping "as if there could be even now / no question of tomorrow."
In Linda Pastan's poem from her latest collection of the same name, the narrator proposes to prepare for the parting that comes with death while "in the fallacy of perfect health . . . ." Now, while there is time, dear ones could behave toward each other with all the loving tenderness befitting a preparation for permanent loss. Then the "ragged things that are coming next . . . would be like postscripts . . . Nothing could touch us."