Showing 491 - 500 of 527 annotations tagged with the keyword "Mourning"
The narrator, now a grown man, relates the story of his brother Del's troubled life and early death. The real story, however, concerns the narrator himself, as he reflects on his relationship with Del, his father's behavior toward both of them, and on the possibility that he (the narrator) played a role in Del's death.
When the narrator was fourteen, older brother Del--drunk at the time--was struck and killed by a train as he walked along the tracks. But the central event in the story is the narrator's betrayal of Del. Although Del had saved him from falling off a grain elevator roof, the narrator had falsely blamed Del for the near-fatal accident, out of fear of the father's fury, and because "After years of being on the receiving end, it wasn't in my nature to see Del as someone who could be wronged . . . ." [p. 57]
"My father had good reason to believe this lie . . . . " [p. 55] The incident occurred shortly after Del had been released from a juvenile detention facility--detained there for trying to strangle the narrator and threatening their father with a shotgun.
The narrator (later) finds in Del's notebook an essay revealing Del's intention to reform. But with the passage of time after the grain elevator episode, Del reverts to delinquent behavior; a year later he is dead. The narrator never reveals to his father the truth and the family never discusses Del's death.
At times, over the years, as the narrator searches for meaning and closure he believes he can "take all the loose ends of my life and fit them together perfectly . . . where all the details add up . . . ." [p. 68] In the end, however, we are left wondering whether this is possible--for the narrator--or for anyone.
Nineteen year-old Johnny Dart leaves home one night after arguing with his parents--to locate the best friend of his sister. He needs to talk with her as the only other witness to his sister's death, five years since, when she fell over a cliff on a picnic. Haunted by the thought that he might have saved her, Johnny is also convinced his parents and others think it should have been he, rather than his sister, who died.
He shows up drunk at the home of the friend's parents, only to find that she has moved out. In his nighttime wanderings he encounters a disoriented old woman on the streets and follows her home to a dilapidated and disheveled house which, it turns out, belongs to her, though since she suffers from Alzheimer's disease or a related syndrome, has lapsed into extreme disarray and disrepair. He ends up staying to care for her for several days, during which he also locates the old friend.
In caring for the old woman and conversing with the young woman, Johnny manages to come to terms with his own past, the pain of his own losses, and agrees to talk with his parents and a counselor and reorient himself to the present. In the process he learns a great deal about himself, about how he has projected his own fears and guilt, and how caring for another person can release him from crippling obsessions with his own past.
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.
Summary:Determined not to like Ruth Thomas, Ann Stanley is immediately smitten by her charm and force of personality, and especially by her vitality--a vitality that too soon succumbs to breast cancer. As one of a cadre of women almost obsessively devoted to the care of a dying Ruth, Ann nurses Ruth through her final illness, until--in a move curiously like the decision of Charity (also dying of cancer) to keep Sid, her husband, sequestered from her final trip to the hospital, in Wallace Stegner's far superior novel, Crossing to Safety--Ruth flies to Florida to die at her brother's house.
The beautiful Polish student, Marie Sklodowska (1867-1934) (Greer Garson), is the only woman graduate student studying physics in Paris. She attracts the attention of her kindly professor by fainting in class. A father of two daughters, the professor realizes that she is both brilliant and poverty-stricken. He offers her a paid research project, and, without revealing her sex, arranges for her to occupy space in the laboratory of absent-minded Professor Pierre Curie (1859-1906) (Walter Pidgeon).
At first, Curie is annoyed by her presence, but he soon realizes that she is immensely gifted. When she decides to leave Paris (and physics) after standing first at her graduation, Curie is horrified and clumsily proposes marriage to stop her. Their union will be based on respect, reason, and physics, he claims, and she accepts. With his support, she embarks on an obsessive project to isolate what, she realizes, must be an unknown element in the compound pitchblende--a substance that emanates rays like light.
Four years of intense labor with few resources, inadequate facilities, incidental child-bearing, the threat of cancer, and many disappointments lead to the isolation of a minute quantity of radium in 1898. The Curies share the 1903 Nobel prize in physics with Henri Becquerel. Their future seems assured, but tragedy soon strikes: the distracted Pierre is run over by a horse-drawn cab and dies instantly.
Madame's grief is powerful, but she recalls her husband's prophetic words and returns to work. In the final scene, the elderly Madame Curie, now twice Nobel laureate (1911 chemistry), delivers an inspirational lecture on the promise of science to help "mankind" by curing and preventing disease, famine, and war.
The poet grieves over his mother's death, "Gone now, after the days of desperate, unconscious gasping, the reflexive staying alive . . . . " He records the details of her dying, the details of his pain. He wonderingly asks himself, "Is this grief?" upon realizing that he is not making a scene, nor crying, nor wishing to follow her in death.
He realizes, though, that his grief is not just for his 80 year old mother who died in bed with make-up on her face, but for his mother-in-law's face and all women's faces and "the faces of all human beings, our own faces telling us so much and no more, / offering pain to all who behold them . . . . " His grief is grief for the earth, the flesh, the body, the mind, "and grief for the moment, its partial beauties, its imperfect affections, all severed, all torn."
Ben Jonson wrote this elegy after the death in 1603 of his eldest son, Benjamin, aged seven. The poet addresses the boy, bidding him farewell, and then seeks some meaning for his loss. Jonson blames himself, rhetorically at least, arguing that he hoped too much for his son, who was only on loan to him. Now that the seven years are up, the boy has had to be returned.
Jonson tries to argue that this is only fair and his presumptuous plans for the boy's future were the cause of his present sense of loss. He then questions his own grief: why lament the enviable state of death when the child has escaped suffering and the misery of aging? He cannot answer this question, simply saying "Rest in soft peace" and asking that the child, or perhaps the grave, record that his son was Jonson's "best piece of poetry," the creation of which he was most proud. He concludes by vowing that from now on he will be more careful with those he loves; he will be wary of liking and so needing them too much.
This short novel relates how a catastrophe involving strangers perturbs the lives of people who live in or near the site where the disaster occurs. The event is an airplane crash; the site, the small town of Bounds, Texas. Told as an inner monologue by each person who either witnessed the crash, or became directly involved in its aftermath, the well crafted narrative weaves back and forth among a widowed postmistress into whose field the plane falls; a priest who is questioning his calling and who administers last rites to all of the victims; a skeptical newspaper reporter; a reclusive young man who ghoulishly hunts souvenirs in the wreckage.
The postmistress hovers between dismay at the ruination of her field and curiosity and concern over the far-flung surviving relatives who come to visit the site long afterwards. Her thoughts are filled with memories of her husband and of the evolving relationship with her married son. She ponders that before the crash, ". . . seemed like I'd lived in a fishtank. "Then, "something shattered" and ". . . the whole world poured in."
The priest keeps the church doors open to strangers, including mourners from far away. This runs up the utility bill, drawing criticism from the parish council. So shaken is he by their small-mindedness and by his vocational doubts that he cannot say Mass. The reclusive souvenir hunter, who pocketed a body part, a hand, from the crash site, is haunted by ". . . that hand against my hand . . ." The newspaper reporter feels compelled to re-visit the scene months later.
This story concerns the death of a child and failures of communication. Scotty, an eight year old, is hit by a car on his birthday. His mother had ordered a birthday cake but "there were no pleasantries between" her and the baker. Scotty is hospitalized, unconscious, and the cake is forgotten. Dr. Francis reassures the anxious parents that all will be well when the boy wakes up.
The baker phones the parents’ home in the dead of night (when he does his baking) because the cake hasn’t been picked up, but they can’t figure out who he is or what he wants. At the same time the doctors and staff can’t and won’t answer their questions about why Scotty isn’t waking up. Dr. Francis comes to the hospital to check the child, looking tanned, meticulously dressed, as if he has just been out for the evening- he has a life outside of the hospital, but the parents have none. When they do run home, separately, to take a break, the baker torments them with his mysterious late-night calls. Their confusion and isolation deepen. The child dies-"a one-in-a-million circumstance."
The mother finally realizes that it is the baker who has been calling and tracks him down, enraged. She unleashes all of the anger which she had been unable to express to the doctors. The baker is stunned to learn about the child’s death; he begs forgiveness and offers them warm delicious cinnamon rolls. "Eating is a small, good thing in a time like this" and they are comforted.
Summary:Sea Creatures is Dr. Vernon Rowe's first collection and contains forty-eight poems divided into two sections: "Creatures of the Inland Seas" and "Out Far and In Deep." The poems are succinct and focused. Much of the imagery is derived from nature, as in the title poem, where the poet-neurologist-helicopter pilot likens his descent through the sky to a dive into a deep and ancient ocean. Poems in the first section are directly related to the poet's life as a physician; works such as "Paralyzed" "Brahms' First, First Movement" and "Wasted" are empathic portrayals of patients.