Showing 491 - 500 of 584 annotations tagged with the keyword "Individuality"
Harry Potter and the Chamber of Secrets is the second in a planned series of seven books (see annotation of Harry Potter and the Sorcerer's Stone for an introductory summary). Harry's summer with the Dursley family is initially more pleasant because the Dursleys are afraid of Harry's wizard powers and do not realize that he is forbidden to use magic outside of school. However, after a magic spell is performed by a visiting, self-flagellating house-elf, Dobby, Uncle Vernon is informed of this school rule and imprisons Harry in his bedroom.
With this maneuver and others, Dobby tries to not only warn Harry that his life is in danger but also prevent Harry from returning to Hogwarts. Barred and sealed in his room, Harry is forced to live off meager portions of soup, which he shares with his owl, Hedwig, until he is rescued by several of the Weasley boys.
Though Harry (now age 12) and Ron miss the train to Hogwarts, they manage to arrive, meet the Whomping Willow (a violent magical tree that beats anything near it), and are nearly expelled by the strict but kind-hearted Transfiguration Professor Minerva McGonagall, head of Gryffindor House. Many of the students, teachers, assorted creatures and magical items (e.g., the invisibility cloak) return in this book, and again a dangerous adventure features Harry, Ron, and their brainy friend, Hermione.
Ron's younger sister, Ginny, is now an impressionable Gryffindor first year student. The adventure leads Harry to the past, a young but evil Voldemort, and more encounters with snakes, Snape, spiders, the Malfoys, and Moaning Myrtle, the ghost of the girls' bathroom.
Illness, particularly an altered, petrified state, plays a prominent role in this book, requiring the healing powers of Madame Pomfrey and the maturing of mandrakes nurtured by Herbology Professor Sprout. Famed author and narcissist Gilderoy Lockhart, the new Defense Against the Dark Arts teacher, muffs the healing of Harry's broken arm, a Quidditch injury, and Harry must go to Madame Pomfrey in the hospital wing for the proper, though painful treatment. Madame Pomfrey is also helpful with a Polyjuice potion gone awry--the potion is supposed to transform the drinker into another person for an hour.
Fawkes, Dumbledore's phoenix, whose flaming death and rebirth is witnessed by Harry, helps in numerous ways, including the healing powers of its tears. But perhaps, as in the first book, Dumbledore's concern and wisdom are most soothing for Harry. Harry, worried about his strange capabilities that link him with Voldemort, such as their shared ability to talk with snakes (Parseltongue), and that the Sorting hat considered placing Harry in Slytherin House and only put him in Gryffindor due to Harry's request, is reassured by Dumbledore that Gryffindor was the right choice: "It is our choices, Harry, that show what we truly are, far more than our abilities." (p 333)
Harry Potter and the Prisoner of Azkaban is the third of a planned series of seven books (see annotation of Harry Potter and the Sorcerer's Stone for an introductory summary). Harry, forced to suffer another summer with the Dursleys, has just turned thirteen. When Uncle Vernon's sister arrives and proceeds to abuse Harry, he rebels, runs away with his heavy school trunk and is picked up by the Knight Bus, a wizard transportation vehicle. Meanwhile, the nine-member Weasley family, usually short of money, have won a wizard lottery and are using the money to visit the eldest son, Bill, in Egypt.
Sirius Black, whose motorcycle was featured in the first chapter of the first book, has escaped Azkaban and the prison guards known as Dementors. Sirius was imprisoned just after the death of Harry's parents when he was caught at the scene of another horrendous crime. Special precautions for Harry's safety are arranged by Dumbledore and the Ministry of Magic, led by Cornelius Fudge. When Harry meets a Dementor on the train to Hogwarts, he blacks out as he feels a rush of coldness, a complete lack of happiness or future, and relives his worst memories. Remus Lupin, the mysterious, gentle and periodically ill Defense of the Dark Arts Professor, provides the antidote: chocolate.
Thus begins Harry's third year at Hogwarts. Hermione signs up for an especially busy, seemingly impossible, schedule of classes. Ron's old pet rat, Scabbers, takes a turn for the worse, despite Ron's attention and care. The invisibility cloak again proves useful, as does a magical map. Hagrid, cleared of the cloud that had been hanging over him since his school days, is promoted to teacher: Care of Magical Creatures. However, an injury to Draco Malfoy by Buckbeak the hippogriff (a flying bird-horse) during the first class leads to another investigation.
Bizarre characters, such as the doom-predicting Divination teacher, Sibyll Trelawney, exciting Quidditch matches with a new broomstick for Harry, more run-ins with Snape, and a peek at Hogsmeade, an all magic village, round out the story. Ron, Hermione, and Harry's dangerous adventure leads to the exposure of Sirius Black, the truth of his connection to Harry's parents, and new discoveries for Harry about his father. Our heroes also discover who is the servant to Voldemort, the Dark Lord.
Sometime in the 1970s, the historian Lou is sent by her Institute to research the life of a nineteenth-century colonel on the island he once owned in the middle of a wide river in northern Ontario. A magnificent house remains with a shack behind where a huge male bear is chained.
At first Lou is afraid of the bear, but gradually she feels sorry for it, allows it into the house, and eventually into her bed. The experience leads her to reevaluate her life, her friendships, and her loves. The summer passes and a wistful Lou returns to the city, and the indifferent bear, to his captivity.
Death’s power to erode and silence human speech has catalyzed a rich and varied flood of writing, some of which is collected in this book. Each of its four sections is devoted to one of the ways in which we speak and write in the context of death: eulogies, letters, elegies, and epitaphs. Culled from a chronological range stretching roughly from Roman antiquity to the present, these texts represent the famous, the anonymous, and all manner of people in between: as subjects of praise, mourning, and remembrance; as writers of speeches, letters, and poems about the dead; and as recipients of condolence letters.
In Greeley, Colorado, where he paints dormitory rooms for a living, the narrator encounters Tarvis, a refugee (like himself) from the hills of Kentucky. Tarvis lives in a shack outside of town, "a little version of eastern Kentucky, complete with woodpiles, cardboard windows, and a lousy road." (p. 118)
The narrator spends most of his free time drinking to get drunk at the Pig's Eye, but when Tarvis asks him to come out and skin a barred owl he found dead on the road, the painter agrees. He is a hunter with lots of experience skinning animals, while Tarvis shamefully admits that he doesn't hunt. He has never been able to shoot an animal. Tarvis collects bird wings and animal bones, and he is always on the lookout for arrowheads.
Months later, the narrator learns that Tarvis has committed suicide. He had found a chert arrowhead, fitted it to an arrow, rigged up a bow to an iron plate and screwed it to the floor, then sat in front of the bow and released the arrow. Tarvis finally made it home to Kentucky when his body was sent there for burial.
When Ruth's unfaithful and unappreciative husband Bobbo calls her a she-devil, she decides to appropriate that identity with a vengeance and take a different spot in the power relations of the world. She wants revenge, power, money, and "to be loved and not love in return"(49). Specifically, Ruth wants to bring about the downfall of her husband's lover, Mary Fisher, a pretty, blonde romance novelist who lives in a tower by the sea and lacks for neither love nor money nor power.
Ruth commences her elaborate revenge by burning down her own home and dumping her surly children with Mary and Bobbo. She continues on a literally shape-shifting quest in which she changes identities; gains skill, power, and money; and explores and critiques key sites of power and powerlessness in contemporary society, including the church, the law, the geriatric institution, the family home, and (above all) the bedroom.
By the end of the novel, Ruth achieves all four of her goals in abundance. Her success, however, raises complex ethical questions, not only because she uses the same strategies of manipulation and cruelty of which she was a victim, but also because of the painful physical reconstruction of her body that is the tool of her victory.
Gottlieb, nearing thirty years old, discovered her childhood diaries in a closet in her parents' home as she searched for some chemistry notes to aid in her quest to attend medical school. This book is "based on diaries" she wrote when she was diagnosed with and underwent treatment for anorexia nervosa. It is the writing of a precocious, strong-willed preteen who enjoys chess, being unique, writing, and getting straight A's in school, yet who is lonely and desperate to fit in and be popular.
Lori is eleven years old, lives in Beverly Hills, California with her fashion-conscious, loves-to-shop mother, her somewhat distant stockbroker father, her older brother David who now is into music and friends and not-Lori, and her best friend Chrissy, a pet parakeet. Lori's diary entries are filled with astute observations of adults (teachers, parents, relatives, medical personnel, even a television star she meets, Jaclyn Smith) and classmates.
She is wry and witty. An early entry gives an English essay she rewrote to get an "A". These "power paragraphs" are generously and hilariously sprinkled with "proper transitions" such as "to begin with", "moreover", and "on the other hand" that her teacher insists are necessary for readability. This essay provides telling insights about Lori's perceptions of her family, particularly (note transition word) her mother's superficiality.
Lori is surrounded by messages of the glories of thinness for women. Every female she encounters, from peer to adult, is on a diet, counts calories, avoids desserts and gossips about how other women and girls look. The culture is not only anti-obesity, but pro-superthinness. Hence it is logical that Lori, angry about being taken from school to go on a family trip to Washington, D.C., begins her rebellion and search for control by skipping meals and dieting.
She gets the attention she craves from her parents. Her schoolmates ask her for diet advice and admire her weight loss. Self-denial, obsession with calories (that she believes can even be gained by breathing), and secret exercising lead to an alarming weight loss in this already skinny kid.
Her mother takes her to the pediatrician, who prescribes whole milk which Lori refuses. He refers her to a psychiatrist, who eventually hospitalizes her for behavior modification, observation, and a possible feeding tube. At the hospital, Lori meets medical students, nurses and fellow patients, but becomes progressively more depressed, dehydrated and lonely. She attempts to run away and makes a suicide gesture. Finally, she sees herself for what she has become--an emaciated stick figure.
The story is set in the mid-1950s in Italy, where the old order has passed away and the postwar economic miracle is beginning to blossom. Our heroine, Chiara, is the beautiful 17-year-old daughter of Count Giancarlo Ridolfi, the scion of a distinguished (but now impoverished) Florentine family. Indeed, Chiari's family history includes the romantic tale of a 16th century female dwarf.
The (more or less) hero of our story is Salvatore Rossi, an earnest young neurologist who hails from a Communist family in a poor village in the south. One night Chiara and Salvatore meet by chance at a concert and fall hopelessly in love. Neither one knows how to respond to the powerful emotions that possess them.
Chiara consults Barney, her worldly and loudmouthed English friend from boarding school. What should she do? Salvatore consults Gentilini, his older and overwhelmingly married colleague. How should he proceed? Meanwhile, Cesare, Chiara's avuncular and solitary cousin who lives on the family farm, has his own part to play in the story. And, in truth, the story lurches from one misunderstanding to another as the wedding approaches, eventuates, and recedes into the past.
The narrator was ridiculed during adolescence because he was fat and socially inept at school. He had one friend, Marion, "a slender girl who came up on holidays from the city / to my cousin's farm." He liked to show-off to others, but couldn't express his feelings, especially to Marion, who he only now realizes was "my first love." At the age of 19, during her nursing training, "she had a fatal accident / alone, at night, they said, with a lethal injection / and was spared from seeing what my school did to the world." [28 lines]
Summary:The poems in this collection are elegant, economical, worldly, and humorous. The tone is generally one of amused ruefulness. In "Alcohol" the poet addresses his subject as "the eighth / and shallowest / of the seven seas." He salutes the "nice" people, "on whom depends / the diminishing goodness of the world."