Showing 591 - 600 of 655 annotations tagged with the keyword "Loneliness"
The Ramsay family are spending the summer in their holiday house on the Isle of Skye. Mr. Ramsay, a mathematician, and his wife, who runs the home, have eight children, including the beautiful Prue, who is likely to be married soon, and James, the youngest, still fiercely attached to his mother. There are also assorted guests, including Charles Tansley, one of Mr. Ramsay's students; Lily Briscoe, a keenly observant painter; and Mr. Carmichael, an opium-addicted poet.
James wants to be taken by boat to visit the lighthouse and his mother encourages him, but his father, enraging James, says it'll be impossible because of the weather. That night Mrs. Ramsay gives a dinner party where she orchestrates the complex dynamics of the family and their guests into a perfect social unit, which is presented as a kind of work of art.
This is followed by a short interlude, "Time Passes," which marks a shift in scale from the human to a wider view, where encroaching darkness and dissolution threaten the house and the lives connected to it. During this period, Mrs. Ramsay dies, Prue marries and then dies in childbirth, and a War takes place in which Andrew, another son, is killed.
All these events are diminished by the universal context of time and change against which Woolf places them. The final part of the novel returns to the human scale. About ten years later, the surviving characters are back at the house and Mrs. Ramsay, though dead, continues to be the central figure, motivating much of what occurs. Mr. Ramsay now takes the still-angry James to the lighthouse, and Lily Briscoe, inspired by her memory of Mrs. Ramsay, is at last able to complete the painting she began years before.
Subtitled, A Memoir of an Alaskan Childhood, this spare, compelling work recalls young Julia's difficult and unusual life in a splintered family living "at the edge of the world." When Julia was born in 1929 the family had just moved to Seattle and entered an economic crisis--"somehow, my father had been bilked out of their money." (17) The marriage went downhill as poverty and the father's serious illness compounded an underlying conjugal incompatibility.
Julia was only seven years old when she and her older sister Lillian found their father dead--a suicide. "Nothing is said about how my father died, or even, in fact, that he is dead." (8) Not long thereafter Julia's mother, Rose, without any explanation or advance warning, left the girls at the Pacific Hebrew Orphan Asylum; there they remained for two years. Rose went to Nome, Alaska to try to find work. "Meanwhile, I strive to be a model orphan. I do all my chores . . . I'm quiet, do well in school, am extremely polite. And most of the time, I'm afraid." (33)
There follows another stay in a different orphanage. Here "I never hear my name . . . No one ever touches me. And, in my memory of that time, that place, I am always alone." (72) Finally, they join their mother again in a remote mining outpost of Alaska where Rose operates a roadhouse. Moving with the seasons back and forth between the outpost and the city of Nome, Julia's life takes on a semblance of normalcy. The environment is strange but interesting, the men who frequent the roadhouse are rough but friendly--there is a sense of camaraderie.
As Julia reaches puberty she becomes subliminally aware of a relationship between her mother and the owner of the Nome liquor store, Cappy. Cappy is married--his family is back in Seattle. There is never any open display of affection between Cappy and Rose, but he eats his meals with them and is almost a surrogate father to Julia and her sister. Suddenly Rose decides to move the family to Fairbanks. Here there is a "secret scenario" that Julia only pieces together many years later. As the events unfold in Fairbanks, Julia knows only that her mother is "distracted, not there." And that a man "carrying a small black satchel" comes to the house and leaves her mother moaning in bed.
Once more, Rose leaves her now teenaged children behind as she returns to Nome. It is wartime and Lillian and Julia find jobs at the military base in Fairbanks. As suddenly as they came to Fairbanks, they are summoned back to Nome--no questions asked, no explanations given. Cappy's son is missing in action. Once again, Julia cannot understand the silence, the absence of grief displayed--"Isn't anybody sad? Isn't anybody upset?" (181) Rose's relationship with Cappy quietly ends.
As Julia finishes high school she fantasizes about leaving Nome, going to college, becoming a journalist--fantasies inspired by Rosalind Russell's role in the film, His Girl Friday, and by Sinclair Lewis's critique of small town life in the novel, Main Street. "I begin to discern, vaguely, tentatively, that somewhere there exists a world where the accepted language is the one that Sinclair Lewis speaks--a language of ideas and, even, of feelings." (212) Indeed, as the book jacket notes, the author graduated from Stanford and became a magazine editor; she lives in Manhattan.
Without is Donald Hall's thirteenth book of poems. It was written in memory of his wife, the poet, Jane Kenyon, who died of leukemia in their New Hampshire home at the age of 47. Interspersed among the poems in the first half of this book is a major poem, "Her Long Illness." Following that poem is the title poem.
Without is followed by a series of poems, titled as letters ("Midsummer Letter," "Letter After a Year," etc.) that chronicle Hall's grief and his attempt to go on living--without his wife. The final poem in the collection, "Weeds and Peonies," places speaker and reader in Kenyon's garden a year after her death and ends as we see her "peonies lean their vast heads westward / as if they might topple. Some topple."
Linda Bishop tells the story of her early years as a nursing student. She soon realizes that she doesn't actually want to be a nurse, but she continues in training, "waiting for some unspeakable horror that I could hold up to the light to prove to myself that the hospital was a truly monstrous place."
While Linda is quiet and sexually inexperienced, her first roommate, Holly Bostwick (Boss), is reputed to have a sensational sexual history and to be afflicted with syphilis. When Linda brings Holly home for Thanksgiving, Linda's mother is impressed with her daughter's new friend, a young woman much more confident and articulate than ambivalent Linda.
Somewhat later, after Boss becomes engaged to a gas station owner, Linda returns by train from visiting her parents. She is determined to make a final decision. She lists what she hates about the hospital and what she likes about it. Will she leave or will she stay?
The second film in Oliver Stone’s Vietnam trilogy, "Born on the Fourth of July" is based on the autobiography of Ron Kovic (played in the film by Tom Cruise), a good kid whose patriotism takes him to Vietnam in the late 1960s and brings him back home paralyzed from the chest down and burdened with the guilt of having accidentally killed a fellow soldier in combat. Living at home with his parents, Ron struggles fiercely with these challenges against the exacerbating background of his culture’s anti-war and anti-vet sentiments.
Things get bad for him, he gets very angry and leaves home for Mexico to forget it all with booze, drugs, and prostitutes. That false paradise eventually fails him, however, and he returns to the States and makes some positive moves, including visiting the parents of the soldier he had killed. He winds up being a spokesman for vets, anti-war ones in particular, and at the end he is wheeling himself out onto the stage of the Democratic Convention of 1976 to huge applause, feeling, as he has just said to a reporter offstage, "I’m home."
This poem is in the form of a villanelle, a French verse form derived from an Italian folk song of the late 15th-early 17th Centuries. Originally reserved for pastoral subjects, modern poets from W. H. Auden ("Time Will Say Nothing") to Dylan Thomas (Do Not Go Gentle into That Good Night) have employed it for more somber subjects.
The strict definition of a villanelle adheres to the following pattern: five tercets followed by a quatrain with the rhyming scheme of a1ba2 aba1 aba2 aba1 aba2 aba1a2. Williams's "Villanelle," like Thomas's "Do Not Go Gentle into That Good Night," obeys this convention while relating a bereaved, haunted mother's lament over her dead daughter.
Blind dolls' dressmaker Bertha Plummer is the center of a significant subplot to this story of marriage and deception. Bertha and her toymaker father, Caleb, live in squalor in a "little cracked nutshell" house and work for hardhearted Tackleton. Caleb has convinced Bertha that their cottage and their employer are both charming. She falls in love with Tackleton and is traumatized by his engagement to another.
Caleb's confession of his well-meaning deceit compounds her suffering. Bertha's literal blindness parallels the figurative blindness in the main plot, in which Dot Peerybingle's innocent secrets make her husband John suspect she loves another. The story ends in reconciliation and happiness all around; Bertha plays the harp while the others dance.
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.
In language of the street and of the heart, Belle Waring has put together another wonderful (her second) collection of poems (see annotation of Refuge, her first collection). She writes of relationships starting and ending; her work experience as a nurse--the powerful "It Was My First Nursing Job," "From the Diary of a Clinic Nurse, Poland, 1945," and "Twenty-Four Week Preemie, Change of Shift"; and other miraculous everyday events of living with eyes wide open as exemplified in "The Brothers on the Trash Truck and my Near-Death Experience" and "Fever, Mood, and Crows."
Lainey's husband, Jay, has been in a coma for weeks, now extending into months. She takes care of their daughters, visits him daily, finds what solace is possible with her resilient, tough-minded, and compassionate neighbor, Alice, and continues to believe he will wake up when the medical staff have largely given up hope.
As she sits with him, trying to adjust and foster her hopes, bringing familiar smells, textures, and sounds from home in the hope of triggering response, she imagines his state of mind. Interludes that work a little like prose poems suggest something of the liminal state he may inhabit. Lainey meets a fellow visitor at the nursing home whose wife dies after having been comatose for 6 months.
Lainey's life is kept from complete inward focus by Alice's efforts to keep her going out, and by Alice's own problems which include a straying husband who finally reveals that he's been struggling with homosexuality and has fallen in love with another man. Jay finally awakens and life returns to something like normal, but with an abiding awareness of the mystery of consciousness and memory, and a heightened sense of the preciousness of consciousness, choice, and the ordinariness of daily life.