Showing 51 - 57 of 57 annotations tagged with the keyword "Stroke"
Consider the possibility of a man whose sense of hearing is so enhanced that he can discern the noise of the entire world and also mimic all the sounds made by men and beasts. Imagine a human being who can SEE sounds as well as hear them. It is little wonder that he would have an affinity and talent for music.
Johannes Elias Alder is such a musical genius born in 1803 with a preternatural gift of hearing. The illegitimate son of the village curate, Elias experiences a physical metamorphosis as a child and by the age of ten is already a man. He effortlessly composes magnificent music that he plays on the organ.
Although Elias falls in love with his cousin, Elsbeth, she marries another man. After this loss, he becomes tired of life. Elias commits suicide at the age of 22 by refusing to sleep and succumbing to starvation and an overdose of belladonna.
At the age of 21, shortly after moving to Ithaca, New York, to begin a new life with her fiance, the author experienced a stroke that left her aphasic and partially paralyzed. She returned home to Altoona, Pennsylvania, where she underwent months of physical therapy and rehabilitation.
This memoir takes us through the process of self-discovery by which Barbara Newborn learned first to understand and cope with her disabilities and then to overcome them. It recounts her depression and determination, her disappointment and exhilaration. Return to Ithaca ends about nine months after the stroke when the author had indeed returned to Ithaca to begin (once again) a new life.
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:This play takes place in the bedroom of a sick and forgetful old woman (A). In the first act she is cared for by a middle-aged companion (B) and visited by a young woman (C) sent by the lawyer to settle some financial affairs. A is imperious and acerbic; B, practical and compassionate; C, impatient and curious. In the context of A's life, they discuss the human condition with its love, pain, wit, sex, and inevitable decline. At the end of the first act, A suffers a stroke that leaves her on the edge of death. In the second act a mannequin of A lies in the bed. B and C are joined by A on-stage in discussing events in their mutual life and how one became the other--for they are, in fact, all the same woman ("everywoman") at different stages of her life.
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 patient lies in the hospital after having a stroke. The "word" is the patient's best friend, but suddenly it's become what "you can't say." "You lie flat / in the white yards of the clinic" unable to find the word. Like a dog, it "drags its chain over the emptied / bowl, barks," but the patient is unable to call it or command it. The stroke victim must simply wait and listen.
Harriet White is an active, energetic 82 year old resident of the Lutheran Home. We follow her through a winter day: a birthday party for a staff member, the funeral of another resident, a visit from her son, and her daily visit to see her husband who had a severe stroke and lies, uncommunicative, in the hospital ward. Mrs. White's son asks her, as he has before, to come and live with him and his family. He also reveals that he has sold the family farm. She is devastated that he had not discussed it with her, but she puts up a good front, saying it was the only sensible thing to do.
Later, she decides to walk several miles to visit the old farm. She does so, and in the evening a search party from the Lutheran Home find her there. As they drive her back, she realizes that her status has changed: she is no longer a stalwart helper, but has turned into a difficult old woman who is liable to wonder away.