Showing 481 - 490 of 540 annotations tagged with the keyword "Mourning"
This excerpt from Tim O'Brien's autobiographical fiction about the war in Vietnam is a reverie of memory, dream, and story that resurrects the dead. The dead are fellow soldiers, the enemy dead, and a first love who died in childhood.
Tim, the narrator and writer, was only four days into his tour of duty when his platoon commander ordered an air strike against a village that is the source of sniper fire. When the platoon walked through the destroyed village, they found one old, dead, mutilated villager. Tim's fellow soldiers had developed a ritual of "greeting the dead" in which they pretended the dead person was still alive, was someone to be greeted, spoken to, both in mockery and in respect. They applied this ritual to the enemy dead as well as to their own dead.
Both repelled and fascinated by the ritual, Tim remembered his own method for animating the dead-in childhood-friend, Linda, whom he mourned and continues to mourn. After she died of brain cancer, he intentionally dreamed her alive and held conversations with her, just as his compatriots held conversations with their dead colleagues. Now, years later, he is telling the story of these experiences, these dead, these rituals, "keeping the dead alive," and "trying to save Timmy's [his younger self's] life with a story."
Katie, the twelve-year-old protagonist and narrator, lives with her sister, Diane, and their father, a military man with a violent temper, on a military base in Texas. She remembers their mother, now dead, as a kind, gentle presence, able to temper their father's violence, though Katie begins to realize that the mother had also lived in apprehension of his outbreaks.
The story develops Katie's strategies for coming to terms with the loss of her mother, the fact that her mother never succeeded in protecting her from her father's violence, and eventually the loss of her sister who runs away. She begins to learn how to negotiate with her father and seek and receive nurture both from others and from herself.
The novel begins with the death and funeral of a mother, told from the viewpoint of a son. The reader meets other family members, including the father, a sister and a brother. This portion of the work drifts back and forth in time, putting together a history of the family and relationships among its members.
Abruptly, the viewpoint drifts to that of the mother, who tells her secret story--glimpses of her past, memories that come as a surprise in the face of the impressions gained from the opening narrative. Finally, the story returns to the last days of the mother's life, and the power of her love for her son, who once again assumes the role of narrator, as well as the loss of the inhibitions between the two.
In July of 1986, author Andre Dubus was assisting some stranded highway motorists when he was struck by a car. After two painful months of hospitalization, one leg had to be amputated at the knee; the other leg, damaged and immobilized in a cast for many months, became virtually useless, but still painful. Dubus was forced to "accept life in a wheelchair." (106)
In meditating on events and people in his life before and after the accident, Dubus leads us to the interior space of his suffering, fear, moodiness, stoicism, and religious faith. Like the Hemingway character he describes in "A Hemingway Story," he has both gotten over and not gotten over the consequences of his accident.
"Sacraments" interweaves the receiving of religious sacraments with the concentration, care, and love associated with making sandwiches for his two young daughters, the emotional pain of carrying on a love relationship by telephone because of his limited mobility, the received sacraments of learning how to drive his specially equipped car, and of getting a bargain from a swimming pool contractor--"the money itself was sacramental: my being alive to receive it and give it for good work." (95) Concluding with the recollection of his father's death; Dubus notes that "I had not lived enough and lost enough" to recognize the grace that accompanied past pain.
Pain and grace continue to compete for his attention: "The memory of having legs that held me upright at this counter and the image of simply turning from the counter and stepping to the drawer are the demons I must keep at bay . . . So I must try to know the spiritual essence of what I am doing." (89) Similarly, mourning--for what he can no longer do-- and gratitude--for what he once was able to do-- go hand in hand as Dubus remembers the joy of running for miles in the countryside (" A Country Road Song").
The body's memory and the losses suffered figure importantly also in "Liv UIlman in Spring." In this powerful piece, Dubus describes his meeting with the actress, how he was moved to tell her "everything," how, bent low, "her eyes looking at mine" she said, 'You cannot compensate.' " (130) For her honesty and understanding Dubus was enormously grateful.
"Witness" relates the uncanny experience of meeting a woman who had witnessed his accident. Wonderment, fear, depression, inspiration, and writing about this incident were the result. As always, Dubus wrote in order to be led to some further understanding. The essay ends, "Today the light came: I'm here."
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.
Summary:In the Renaissance double portrait (c. 1480), an elderly man and a young boy gaze into each other's eyes. The old man is wearing a vermilion robe which gives his presence a vivid solidity. The child, painted in profile, rests his hand on one arm of the man whose other arm embraces him. The warmth of the orangey red is complemented by the cool gray-green wall behind the pair. A window opens the wall, revealing a peaceful sky and a distant mountainous landscape.
In this huge painting, Courbet depicts the funeral scene of an ordinary citizen of the village. The open grave at the center front of the painting is surrounded by a great S-curve of pallbearers, priest and altar boys, gravedigger, family and friends in mourning. The composition is, in many ways, classical, yet the subject matter-- the burial of an unknown villager--is starkly different from the grandiloquent depictions of famous historical events or wealthy, powerful people so common in contemporary 19th century painting. This deliberate and radical choice of subject is also reflected in the title of the painting, which only locates the burial by town and not person.
The grouping of mourners and attendants follows the horizon or distant cliffs--no one's head extends into the sky. Only the crucifix, held by a religious attendant, is outlined by the muted tones of the sky. The earthbound nature of life is thus emphasized, as the figures are framed by dirt and rock.
Courbet instills the human touch into his painting. An altar boy gazes with a look of innocence up at a pall bearer. A young girl peers around the skirts of her elders. Several grief-stricken women clutch handkerchiefs to their faces.
Gary, now in seventh grade, has lived with his mother since early childhood when his dad left. His uncle, Rob, has always lived nearby and loved and attended to him like a dad. Gary counts on Rob for basketball coaching, good advice about girls, and understanding about things he can't talk with his mom about. Gary notices one day that Rob looks pale and sick. The sickness doesn't seem to go away. Finally he learns that Rob has AIDS.
For a time he manages to convince himself it was a mistake at the lab and couldn't be true. Ultimately he has to come to terms with it when his uncle is taken to the hospital. With Rob's illness he finds a new kind of maturity in himself, and with Rob's encouragement he initiates a friendship with a girl he's been too shy to approach. After Rob dies, he is surprised at the kind of support he gets from friends, and finds ways to recognize and claim something of Rob in himself.
Summary:The wife of a man dying of cancer takes him to Yosemite for one last visit before his death. During this trip she thinks about how her life has been changed, both by marriage and by her husband's illness. Yosemite represented a tradition for them where they vacationed with their children each year. As the narrator reflects on how her life will change after her husband's death, and on the needs she has suppressed over the years, Yosemite begins to represent a new kind of tradition for her which will give her nurturance in the future.