Showing 531 - 540 of 634 annotations tagged with the keyword "Survival"
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.
Summary:In the title story of this collection, "Survival Rates," a husband's thyroid cancer appears to be a greater threat to his marriage than it does to his health. The young girl who survives an accident in "Jumping" ends up a casualty anyway. In "Howard Johnson's House," a plastic surgeon repairs a nine year old girl's nose after it is severely damaged by a dog bite. Even before the injury, however, the child's nose was hideous. When the surgeon gives her a cosmetically perfect nose, the girl's mother is not merely disappointed but outraged. Two girls must adapt to life after colon surgery in "Krista Had a Treble Clef Rose."
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 1929, a Danish physician identifies a new strain of smallpox that is capable of infecting and killing even those individuals who have previously been vaccinated against the disease. Before this incurable plague reaches them, the citizens of Vaden, a prosperous town renowned for their fanatical love of children, unanimously agree to barricade the city from the rest of the world.
Only once during this time when Vaden has quarantined all of Denmark does the town make an exception. A traveling European circus is allowed into the city because the mayor cannot bring himself to refuse its sick children. Unbeknownst to the villagers, a dwarf clown who is the featured performer of the circus has just died from the virulent strain of smallpox, but not before introducing it to Vaden. A 12 year old member of the circus successfully impersonates the dead clown. One night, the imposter with his wooden flute leads the children out of Vaden through a gate in the wall.
The spoiled Long Island heiress, Judith Traherne (Bette Davis) is suffering from severe headaches and visual disturbances, which she tries to ignore in pursuit of wild parties and frenetic horse-back riding. Her friend and secretary, Ann (Geraldine Fitzgerald), and the old family doctor bring her to Dr. Frederick Steele (George Brent). Steele has just sold his neurosurgical practice and is about to catch a train to Vermont where he will devote himself to fulltime research on malignant brain tumors. He delays his departure to operate successfully on Judith's glioma.
He and his patient fall in love. But Steele learns that her disease will recur in a predictable manner: blindness followed by painless death. He and Ann conspire to hide the prognosis from Judith. A wedding is planned and the move to Vermont. But Judith uncovers the secret and flies into a rage at the treachery, breaking off the engagement.
She tries to drown her sorrow of impending doom in drink, a frivolous dalliance with a drunken suitor (Ronald Reagan), and a more serious dalliance with her horse-trainer, Michael (Humphrey Bogart). On the verge of sin with Michael, she realizes that her only hope lies in life itself, marriage and the house in Vermont. Steele conducts his laboratory research in a back shed and the couple carry on as if her death sentence did not exist.
Living a lie provides their few months of happiness, their "Dark Victory," Judith says, over the cruel promise of her death. Just as Steele is invited to New York to present his research, her vision begins to cloud and fade. She tells Ann, but keeps the news from her husband. He leaves the now blind Judith and her friend in the garden planting bulbs that will bloom in spring. She sends Ann away too, and lies down to face her romantic (but painless) end alone.
This fine collection of nine stories--the author's first--offers the reader a variety of experiences that are both familiar and foreign. All concern Southeast Asian Indian (often Bengali) protagonists living either in India, or after transplantation, in the United States. All provide rich descriptions of the details of Indian life, and of cultural values and customs. While the domestic routines (for example, Indian food and cooking provide an important backdrop in several stories) may be unfamiliar to American readers, the style and themes of Lahiri's writing are highly accessible, absorbing, and moving.
Most of the stories are written from a perspective that is between cultures. The characters are not traumatized refugees but are negotiating a path in a country (America) that seems to provide opportunities ("A Temporary Matter," "The Third and Final Continent," "Mrs. Sen's," "When Mr. Pirzada Came to Dine"); or they are the Americanized children of such Indian families ("Interpreter of Maladies," "This Blessed House"). Ties to the Asian sub-continent may be strong or weak, primary text or subtext, but they are ever-present. Living between cultures lends an extra layer of complexity to situations and relationships that are difficult in and of themselves.
Raina is 17, living alternately on the streets with a boyfriend addicted to hard drugs and at home with an abusive mother, also an addict. She has been victimized by a succession of her mother's live-in boyfriends and lost a young brother to an accidental overdose: he swallowed some of his mother's pills while the mother slept and seven-year-old Raina was watching him.
Margaret Johnson is 45, Raina's teacher at an underfunded, overcrowded public school where Raina's life of squalor is more typical than not. Her own story is told in chapters that alternate with Raina's story and with the texts of autobiographical compositions Raina gives her but refuses to discuss. Only when Raina finds herself pregnant, shortly after her boyfriend has been killed in a drug-related accident, does she take Ms. Johnson up on her repeated offers of help.
She lives at the teacher's home for awhile, runs away to her own home, unused to kind treatment and afraid she'll disappoint the teacher and be thrown out, goes to a shelter, has her baby, and finally returns, having nowhere to go. Ms. Johnson, with some hesitation, takes her and the baby in and the three begin to work out a life together, knowing it will involve difficult change, but willing to bet on love against the odds.
In mid-19th century England, a small group of religious women called the Household of Hidden Stars follow Muley Moloch, an itinerant prophet, across the world to establish a life for themselves in New South Wales. Catherine, Moloch's wife, gives her account of their story many years later in 1898.
Moloch is an illiterate shoemaker-turned-prophet who claims to perform miracles. His goal is to prepare the way for the Second Coming of Christ. To accomplish this, he and his group of 8 or 9 women set out to lead exemplary lives in the wilderness, yet they do not attempt to make converts.
When Catherine becomes pregnant, she and the others think her pregnancy is a miracle. (In reality, Moloch has had sex with her while she was desperately ill and unaware of what was going on.) They name the child Immanuel and believe that he is the Second Coming of Christ.
Muloch considers the local Aboriginal people to be demons and treats them as such. One day he sees Immanuel talking to a "demon" and shoots the man dead. Immanuel, already fed up with all the craziness, runs away. At this point the women finally seize control of their own lives and tell Moloch that he must leave. As the years progress, the women remain together. One by one they die of consumption, until only Catherine and Louisa are left.
This stark and sensual poetry collection is divided into three sections. The first, "Graveyard Shift," introduces the narrator's themes: the keen observation of suffering; the questioning of God's role in such suffering; the way caregivers and patients meld in shared moments of trauma; the struggle to integrate the reality of death and grief into a life outside the healthcare arena.
A longer second section, "Lessons," contains a chronology of poems that broaden the poet's themes. Suffering becomes personal through sexual abuse ("The Burning"), death of a baby ("To the Woman in the Next Bed," "Waiting Room," "Last Lullaby for the Dead Child"), and breast cancer ("Keeping Watch"); the mystery of God's role becomes the narrator's religious quest.
The final section, "The Ones Who Come," opens these themes to the universal: children and adults lost to "the holocausts" of war, poverty, and illness ("Lizard Whiskey: A Parting Gift from Viet Nam," "After the Siege," "The Ones Who Come," "The Man Who Stays Sane"), and how history repeats these cycles of birth, suffering, and death.