Showing 501 - 510 of 643 annotations tagged with the keyword "Children"
Eva McEwen is born in Scotland in 1920. Her mother dies shortly after giving birth to her. At the age of six, Eva is "visited" by two strangers (an older woman and a teenage girl) that only she can see and hear. These mysterious companions steer the course of her life. During World War II, Eva serves as a nurse in a burn unit.
She falls in love with a plastic surgeon but her supernatural attendants have other plans for Eva. She secures a job as a school nurse, marries a teacher, and has a daughter. Sadly, Eva dies at a young age from cancer of the liver and pancreas. Thus the novel ends much like it began, with the tragic death of a young mother who leaves behind a devoted husband and daughter while ghostly visitors are poised to both share and meddle in the youngster's life.
This monumental portrait of the 17th century knight, Sir Richard Saltonstall, and his family was commissioned for the Saltonstall family home. The wealth of the family is indicated by intricate tapestries, a woven rug, jewels, and the rich fabrics of clothing and curtains. Absent from the picture is any religious iconography.
Saltonstall stands left of center and draws back the rich red curtain on the deathbed of his first wife. With his ungloved right hand he holds the hand of his eldest child, a son. This son is still young enough to wear a dress, but his coloring and the dress style indicate a boy. He in turn holds the arm of his younger sister, so that a diagonal line is formed from the father's hat, down his arm and through the two children.
The pale dead mother lies all in white, her eyes open, and her upturned hand reaching towards her children. On the right side of the picture sits Saltonstall's second wife, and she holds her baby on her lap. She also is dressed in white and is separated from her husband by the first wife. In addition, the diagonal line between Saltonstall's left hand and his baby is interrupted by his dead wife. However, he does gaze in the direction of his second wife, although no one in the portrait looks directly at another person.
The Exact Location of the Soul is a collection of 26 essays along with an introduction titled "The Making of a Doctor/Writer." Most of these essays are reprinted from Selzer's earlier books (especially Mortal Lessons and Letters to a Young Doctor). Six pieces are new and include a commentary on the problem of AIDS in Haiti ("A Mask on the Face of Death"), musings on organ donation ("Brain Death: A Hesitation"), a conversation between a mother and son ("Of Nazareth and New Haven"), and the suicide of a college student ("Phantom Vision").
A young doctor, recently assigned to a country hospital, is fraught with anxiety, especially over his lack of experience with obstetrical problems. One night the midwives call him; a woman is having a difficult labor. The fetus is presenting in a transverse position. The doctor must reach internally and “turn it around by the foot,” as Anna Nikolaevna, the seasoned midwife, reminds him.
The doctor has never performed this procedure. He buys time by going back to his room to consult the textbook (under the pretext of going for cigarettes). Finally, he can't avoid it any longer. He performs the rotation. It works! Both mother and baby are saved.
Summary:The speaker recalls his need to call forth a "slender memory" of his father. This memory from childhood is both "painful" and "sweet." In contrast to his father, who, as a political prisoner had devised complex mnemonics, the speaker has a haphazard memory. But is it his memory, or what he recalls that is "illogical"? "My father loved me. So he spanked me. / It hurt him to do so. He did it daily." The speaker remembers, also, how his father protectively wrapped him in his own sweater to shield him from cold. Years later, the speaker wears the sweater.
Summary:A succinct poem [29 lines] that captures the essence of the position in which one finds oneself after a parent, or both parents, have died. Full of evocative phrases, this poem is less about grief than it is about awareness of adult responsibility and one's own future demise: "there is nobody / left standing between you / and the world . . . ."
Sleep is a much sought-after prize in this novel. Bonnie Saks is a 39 year old woman whose life has spiraled out of control. Already divorced and the mother of two young boys, she is tormented by insomnia. Her life is further complicated when she discovers she is pregnant and struggles to complete her unfinished dissertation on American literature.
Ian Ogelvie is a 29 year old psychiatrist and sleep researcher experimenting with a breakthrough drug known as Dodabulax that greatly enhances REM sleep. While Ian helps Bonnie sleep, she in turn provides him with a wake up call of sorts. Ultimately, Bonnie becomes uneasy with the changes triggered by her blue pills. Despite suffering a miscarriage, her life becomes more tolerable and her insight much clearer.
The poet conjures up the image of the doctor who delivered him and his siblings ("All of us came in Doctor Kerlin's bag"), the doctor who arrived at the house in his fur-lined coat and ascended to his mother's bedroom, and later came down and arranged the instruments in his bag (a "plump ark"), which by that point was otherwise empty. In the boy's fantasy, Doctor Kerlin's small eyes were "peepholes into a locked room," in which were strung "the little pendant infant parts / . . . neatly from a line up near the ceiling-- / a toe, a foot and shin, an arm, a cock."
On a visit to the ruined temple of Asclepius, the god of healing, the poet finds himself remembering Doctor Kerlin, and also the incident when, as an altar boy, he fainted during a procession at the healing shrine of Lourdes in 1956. Now many years later, he pulls up some tufts of grass from around the temple and sends them to friends suffering from cancer. He remembers entering the bedroom after Doctor Kerlin left, his mother on the bed asking, "And what do you think / Of the new wee baby the doctor brought for us all / When I was asleep?" [94 lines]
Using direct address the speaker has been reading the newspaper and begins the poem, "Already you’re on Page 8," to signify the ease with which "that large animal The Public General" forgets such a horror as the beating death of the little girl, Elizabeth Steinberg. The speaker asks who will remember the child, "or consider the big fists breaking your little bones, / or consider the vague bureaucrats / stumbling, fumbling through Paper."
The speaker ruminates on why she is "sick" when she thinks of her, telling her that "We cannot help you," but that "If you are Somewhere, and sentient, / be comforted, little spirit" because she helps "us begin to hear the scream out of the twisted mouth." Elizabeth’s death will motivate the community, the speaker insists (hopes?), to "stomp into the Horror Houses, / invade the caves of the monsters."
Summary:A tiny figure slowly emerges from a vast expanse of snow, and a succession of short essays recreate moments in the life of the brilliant Canadian pianist, Glenn Gould (Colm Feore). From his unusual Ontario childhood to his musical debuts on the international stage, to his eccentric living, performing, dressing, driving, waking, and sleeping habits, this film offers insights into his loneliness, hypochondria, polypharmacy, and tragic death from a stroke at age 50 in 1982. The artistic vignettes are enriched by a tender humour, the intimate recollections of real-life friends, the abstract beauty of piano keys in motion, and above all, Gould's immortal playing.