Showing 491 - 500 of 521 annotations tagged with the keyword "Memory"
This docudrama traces the life and work of Maine midwife, Martha Ballard (Kaiulani Lee), through the account of her own diary from 1785 to 1812. She and her surveyor husband, Ephraim (Ron Tough), moved from Massachusetts to the frontier of Maine during the Revolution; the rapid social changes in their new republic are felt at the domestic level. Ballard cared for many sick people, more than a thousand women in labour, and their infant children. She also becomes a witness for a woman who was raped by a judge.
A local doctor makes a brief appearance as a bungling meddler; other doctors perform an autopsy of her own deceased niece, which the midwife attends; but most often Ballard works alone. Her five surviving children leave home, and she comes to relate the experiences of her patients to those of her own life.
Her husband shares the slow decline into age surrounded by the frictions of proximity with an uncaring son and his months in debtors' prison. The recreation is interspersed with interviews and voice-over with historian and author, Laurel Ulrich. Ulrich describes her discovery and fascination with the Ballard diary, the difficulties in interpretation, and the still unanswered questions.
Summary:A Tahitian female lies naked on her belly, terrified by the presence of the spirit of death. Behind her, with an averted phosphorescent eye, the spirit is personified in the form of a harmless old woman dressed in a black shawl. According to island mythology, the title has two meanings: either the young girl is thinking of the ghost, or the ghost is thinking of her. Bold ambiguous shapes and colors (yellow blanket, blue pareu, phosporescent greenish sparks on a violet background) intensify the eerie atmosphere and enigmatic quality of the painting.
Summary:In this collection, sixteen writers (including the editor, in her introduction) recount the deaths of one or both of their parents. They explore a wide range of questions: about the relationship between parents and their children, about the inevitability of the loss of that relationship (if it is lost in death, for, as the editor asks, "is the death of a parent really the end of the relationship?" [p. 2]), and about the conflicts that arise between the necessary separation that comes with adulthood and the complex ongoing attachments which in these stories enrich, haunt, inform and in many ways determine the lives of the tellers.
Seventy-nine year old Dame Lettie Colson begins to receive anonymous phone calls from a man whose message is, "Remember, you must die." Soon, her octogenarian brother, her senile sister-in-law, and many of their tottery friends begin to receive similar phone messages.
The novel takes us through a year or so in the lives of this group of eccentric elderly upper-class Brits and a few of their not-so-privileged servants and caretakers. As they pursue the source of the "memento mori" message, we discover a complex matrix of infidelity and deception, ranging from youthful love affairs and harmless perversions to manipulation and blackmail. In the end, though, Death will not be denied.
Summary:In Balsamroot, Mary Clearman Blew explores the life story of her beloved aunt, who has recently developed dementia. The memoir artfully interweaves the stories of the author's struggle to cope with her aunt's condition and find the best care for her; her aunt's past as revealed in newly discovered diaries; the author's reconciliation with her estranged daughter; her coming to terms with a broken love relationship from the past (spurred on by her discovery of a thwarted love in her aunt's past).
Showalter identifies clusters of syndromes, or mini-epidemics, which she suggests represent late-twentieth century manifestations of the entity which was called hysteria in nineteenth century western culture. Opening with the history of psychiatry's involvement in hysteria in the time of Charcot and Freud, she traces the replacement of hysteria or conversion reaction by modern hysterical analogues such as: chronic fatigue syndrome, recovered memory, Gulf War syndrome, multiple personality syndrome, satanic ritual abuse, and alien abduction.
In separate chapters she examines each of these entities--how it presents, how it fits into her theory of mass hysteria as a cultural response to the millennium, and how it is being handled by health care professionals. Showalter contends that "Redefining hysteria as a universal human response to emotional conflict is a better course than evading, denying, or projecting its realities." (p. 17)
Will Barrett, the protagonist of The Last Gentleman (see this database), returns in this novel, having retired early from a lucrative law practice. A widower, he lives in an exclusive North Carolina suburb where he has become "the world's most accomplished golf amateur."
Suddenly, his golf game turns sour and "hidden memories" pop up. Among these memories is the truth about his father's suicide: when Will was 12, his father killed himself in a "hunting accident," but had also tried to kill Will to "protect" him from an inauthentic existence. While Will is struggling with his own "death in life," he meets Allison, a neurotic 20 year old woman who has escaped from a mental hospital and is living in an abandoned greenhouse on some property that she has inherited.
Other characters include Father Weatherbee, a decrepit old Catholic priest who was once a missionary in Mindanao, and Jack Curl, a charmingly smooth Episcopal priest, who is trying to establish affluent "love communities" in North Carolina. Will decides to challenge God, "I shall go into a desert place and wait for God to give a sign. If no sign is forthcoming, I shall die . . . . " Ultimately, he finds his "sign" in Allison; they choose life, fall in love, and get married.
Williston (Will) Barnett, the damaged son of an old Southern family, is the protagonist of this rambling, picaresque novel. While living in New York, Will meets Kitty McVaught, a young Alabama woman whose father owns the world's largest Chevrolet agency. Will, who suffers from bouts of amnesia and fugue states, follows Kitty back to Alabama and meets her family, including her mother, who believes the South lost the Civil War as a result of a Jewish conspiracy; her older brother Sutter, a failed physician and self-proclaimed pornographer; her sister Val, a devoted Roman Catholic who works among the poor black children; and a 16 year old brother Jamie, who is terminally ill.
Will's mission in this novel is to discover why his father committed suicide when Will was 12 years old, and thereby achieve some healing of his own memories, but most of the action in the novel involves various members of the McVaught family, especially Sutter and Val, who represent the warfare between animal desire (Sutter) and angelic spirit (Val) in this fallen world. The novel's climactic scene takes place in Santa Fe, where Jamie undergoes a deathbed conversion. Afterward, Will presumably returns to Alabama to marry Kitty and do something constructive with his life.
Summary:David Moolten's poems demonstrate the medical (and poetic) virtues of simplicity, clarity, skillful observation, and attention to meaningful detail. They reveal and transform the poet's experience--from "a brief Christmas display / Of bells and lights" when he feels the silence of his father's joy "as I pull out the Lionel / Strangled with tinsel . . . " ("Freight"), through a call from the rehabilitation hospital during which his shattered brother "cried like static into the phone" ("'Cuda"), to "The Night" in which the poet stares through the window of memory at his and his wife's younger selves and tries "to whisper in their ears / They don't know where they're going" as they "lean into each other / Like two hands shielding a small flame . . . . " Among the other particularly appealing poems in this collection are "Chemistry Set," Motorcycle Ward (see this database), "Voyeur," "1968," and "Omission."
Summary:In 1981 the author, a well-known 75 year old Swedish poet, suffered a heart attack and lay comatose for two months. He then began a prolonged period during which he gradually recovered all of his faculties. In the early stage of his recovery, Lundkvist experienced a series of strange and intense "waking dreams," which he describes in this memoir. Many were dreams of journeys to real or fantastic places: for example, a trip to a railroad station in Chicago where physicians surgically transformed white people into black people, or a visit to a strange planet where cows produced blue milk. Lundkvist's memories of these dreams are embedded in a series of imaginative meditations on aging, human nature, the meaning of life, and the inexorable passage of time.