Showing 521 - 530 of 540 annotations tagged with the keyword "Mourning"
Condemned to death, Socrates, strong, calm and at peace, discusses the immortality of the soul. Surrounded by Crito, his grieving friends and students, he is teaching, philosophizing, and in fact, thanking the God of Health, Asclepius, for the hemlock brew which will insure a peaceful death. His last words are "a cock for Asclepius!"
The wife of Socrates can be seen grieving alone outside the chamber, dismissed for her weakness. Plato (not present when Socrates died) is depicted as an old man seated at the end of the bed. The pompous "medical celebrity"--as Tolstoy might describe him, were he one of Ivan Ilyich's five consults (The Death of Ivan Ilyich, see this database)--is pontificating on his rounds about the pharmacological details of the medication.
Summary:The speaker describes burying a pet cat, and evokes the feelings she and her companion experience at the time, and the following day. They bury the cat with its bowl--hence the title.
Summary:A long story (35 pages) within a book of stories about the author's family, "The House of the Future" movingly describes from the perspective of a precocious 12 year old the death from cancer of his older brother, age 17. The story, subtitled "a reminiscence," conveys in a remarkable way the hopes and fears, the habits and idiosyncrasies of this ordinary and outlandish family. The belief in the clarity of architecture which sustained the younger brother through the year of his older brother's dying, collapses in the end, leaving him to enter a new house, a new ambiguous space, for making sense of his loss.
Julie and Samantha have been best friends since they met in a dancing class at age nine. Now, at sixteen, they are closer than sisters, at home in each other's families, sharing everything, imagining their futures together
Julie, who has been feeling unusually fatigued and experiencing hip pain, finds, after several misdiagnoses, that she has diffuse histiocytic lymphoma, a type of cancer. She begins a course of aggressive chemotherapy and with it an inner journey that gradually distances her from family, friends, and in particular Sam--in ways none of them could have predicted.
Love is stretched for all of them beyond where it has had to reach before. There are periods of silence, odd pretenses, and conversations of unprecedented intimacy as Julie, her parents, and her best friend chart their bumpy course through shock and various tactics of accommodation to final acknowledgment that Julie is dying. Julie's own accelerated growth into an enlarged consciousness of the shape of her own life and destiny, and Sam's growth into a kind of emotional and psychological independence she'd never known before are the focus of this story, each girl narrating her own side of the story in alternating chapters.
Thirteen-year-old Sarah's mother, a lively, successful lawyer, discovers she has metastatic cancer. The story covers the months between her diagnosis and death. Sarah's dad is a minor character; there is little portrayal of his relationship with the mother, or with Sarah, except when he's announcing bad news. Sarah finds herself reacting in unexpected ways--feeling hateful, angry, detached, paralyzed, inclined to deny the whole thing.
The supporting character is Sarah's friend, Robin, whose mother has agoraphobia, never goes anywhere, knows few people, and rarely allows Robin to invite Sarah over. Sarah comes to understand this problem for the first time when her own mother's illness opens channels of communication between the girls.
The moment of the mother's death is described briefly but vividly: "Mom suddenly lifted both hands, pressed them hard against her forehead. She looked at me once, her eyes huge, and for an instant, it was as if she were pleading with me." The mystery of what her mother might have wanted in that final moment haunts Sarah--a reminder that death leaves questions with no answers. As the story ends, Sarah rereads a note from her mother which concludes, "'Don't let anybody tell you differently. What we're going through stinks. It just plain stinks." The novel ends with this emotional truth, making little attempt to soften it by speculation about afterlife.
Thirteen-year-old Meg tells the story of the summer of her fifteen-year-old sister’s death. One night Molly awakens covered with blood, Meg calls their parents, and Molly goes to the hospital where she remains for weeks, undergoing tests. It takes Meg a long time to let herself realize how bad it is, even after the magnitude of the illness is visible on Molly’s ravaged body.
Much of the medical detail in the hospital scenes makes clear how advanced the disease is, but Meg masks her growing fear with disgust, projecting her fear onto doctors she decides must be using Molly for experiments and exaggerating the seriousness of her condition. Unable to open herself to an empathy that would require both an unusual act of imagination and courage to face grief, Meg focuses on the bizarre visible effects of Molly’s illness and on her own altered daily life. Her oddly "selfish" perspective, understood as a self-protective strategy, makes complete sense.
In the midst of the slow progress of Molly’s leukemia, Meg develops friendships with an old man and a young couple expecting a baby. Both contacts help normalize her world, provide her with "reality checks" and give her a quality of attention her parents can’t manage at the time. After the baby is born, Meg gains a new perspective on the precarious miracle of life and finds the courage to go to the hospital to see Molly, now in the final stages of the disease. Meg and her parents are emotionally reunited in their loss, and in the final chapter Meg reflects on the paradox of healing that doesn’t cover over loss, but allows life to be good again in different terms.
Addie Bundren is dying in Yoknapatawpha County, Mississippi. As she dwindles, her five children, husband, a scattering of neighbors and the country doctor move about her. Each is given a chapter named for him or her, to provide evolving and unique viewpoints on Addie's life and death.
When Addie has finally breathed her last, the action begins: Anse, Addie's husband, has promised her that she would be buried in Jefferson with her own family. The nuclear family sets out in their old wagon. Floods, injuries, irrational decisions, disagreements, fire, and the full mental collapse of one of the children plague the journey. Addie is eventually buried in Jefferson, but in the process of getting her there, the reader learns the sweet and the sordid about this poverty-stricken and profoundly dysfunctional family.
Summary:The speaker describes cleaning out the house of a friend/relative who has recently died. She rewards each small accomplishment in her sorting through of the dead woman's possessions by eating one cookie from a tin of homemade cookies that was sent by the woman's cousin before she died. As she reaches the end of her cleaning, the speaker takes the last cookie from the tin: "I took it up / and sniffed it, and before eating it, / pressed it against my forehead, because / it seemed like the next thing to do."
Summary:A very short poem, in which the speaker, sorting through old china, finds a dead friend/relative's gravy boat "with a hard, brown / drop of gravy still / on the porcelain lip." This discovery leads the speaker to truly grieve the loss of this person in a way she hadn't before.