Showing 631 - 640 of 657 annotations tagged with the keyword "Loneliness"
Elizabeth Carpenter is preparing for her fiftieth wedding anniversary and hoping that her children will come home for the event. She nurses her irritable, invalid husband, a retired teacher, who has been a rigid father and is now bedridden with a chronic illness. He is too proud to ask for the things he needs or wants, and spends his vacant hours comparing what he perceives as the dull, dutiful Elizabeth to the "other woman" he loved long ago.
Their oldest child, Victoria, once a fragile beauty full of promise, is institutionalized for a chronic mental illness characterized by irrational fears and self-doubt. The middle child, Jason, is a psychiatrist who has been unable to establish trusting relationships and seeks affirmation through multiple sexual adventures. The youngest child is Emily, a concert violinist whose way of achieving peace is to live abroad, avoiding commitments and her family from whom she is hiding the fact of her own son, Adam. But the reunion leads them to revisit relationships and events in the past and results in some surprises for their present and future.
Fran, a fourteen-year-old from New York, is finally allowed to spend a month of her summer vacation with her aunt of Cape Cod. As yet she is unaware that her parents have put off such a visit because her aunt, a lively, empathetic teacher, has a long-term lesbian partner. Among Fran’s new acquaintances is a girl her age, Wilma, who is confined to a wheelchair and, apparently because of the way her disability sets her apart, as well as her famous father’s divorce and remarriage, is extremely demanding and difficult.
Wilma’s stepmother hires Fran to be Wilma’s "companion" a few hours a day while she rests, being in the final stages of her first pregnancy. With the help of some pivotal conversations with her aunt and a new friend, Jack, Fran finds her way through her own anger and bewilderment at Wilma’s behavior to the beginning of an authentic friendship with her, as well as an understanding of the imagination caregiving demands. Along the way she becomes aware of her aunt’s lesbianism and finds that her other experience has helped open her to acceptance of this difference as well.
Summary:This story illustrates how terrifying and painful adolescence can be when lived according to the relentless standards of physical attractiveness, especially thinness. Janine, the teenage narrator, is overweight and unattractive; Dawn is her self-absorbed best friend. Janine is bulimic, a ritual she engages in when not going to the mall looking for boys, that is, looking for someone who will love her. The story illuminates the allure of thinness to an overweight adolescent who believes, because everyone tells her so, that with thinness comes acceptance, popularity, and love.
This short novel relates how a catastrophe involving strangers perturbs the lives of people who live in or near the site where the disaster occurs. The event is an airplane crash; the site, the small town of Bounds, Texas. Told as an inner monologue by each person who either witnessed the crash, or became directly involved in its aftermath, the well crafted narrative weaves back and forth among a widowed postmistress into whose field the plane falls; a priest who is questioning his calling and who administers last rites to all of the victims; a skeptical newspaper reporter; a reclusive young man who ghoulishly hunts souvenirs in the wreckage.
The postmistress hovers between dismay at the ruination of her field and curiosity and concern over the far-flung surviving relatives who come to visit the site long afterwards. Her thoughts are filled with memories of her husband and of the evolving relationship with her married son. She ponders that before the crash, ". . . seemed like I'd lived in a fishtank. "Then, "something shattered" and ". . . the whole world poured in."
The priest keeps the church doors open to strangers, including mourners from far away. This runs up the utility bill, drawing criticism from the parish council. So shaken is he by their small-mindedness and by his vocational doubts that he cannot say Mass. The reclusive souvenir hunter, who pocketed a body part, a hand, from the crash site, is haunted by ". . . that hand against my hand . . ." The newspaper reporter feels compelled to re-visit the scene months later.
This is the first person narrative of Maarten, a seventy-one year old man who is experiencing a rapidly progressive loss of intellectual function. It is a harrowing yet poetic account of mental deterioration, revealed in an on-going chronicle of daily life and disjointed memories. The reader experiences what Maarten experiences, not only through descriptions of what life is like, but through the sequencing of thoughts and actions.
At first Maarten is just aware of being uneasy and anxious, "this feeling of being absent while being fully conscious" and he knows, from the comments of his wife, that he must be behaving absent-mindedly. His hold on familiar certainties becomes shaky--he’s not sure of how the rooms in his house are arranged. His wife, Vera, is his anchor and he realizes that his behavior has become deeply disturbing to her, as well as incomprehensible to himself. As Maarten becomes increasingly forgetful and unable to function, Vera is alternately worried, exasperated, and profoundly understanding.
Finally, Maarten is institutionalized--his thoughts disintegrate--yet we know from his observations of "the utterly moronic community" that he still has some awareness of what is happening. Although he no longer recognizes his wife, he listens to "a woman" whisper that "the spring is almost beginning . . . ."
This story is told by Tillie's grandfather. Tillie's parents were killed in a plane crash and she now lives with her paternal grandfather, a man who (in a sense) has never really grown up. "Retirement" has always been his natural lifestyle. He says that he never "amounted to anything." The grandfather enjoys story-telling and fantasy. In his stories for Tillie, he invents the character Joey Moxey, a clown whose life-events just happen to mirror the daily events in Tillie's life.
Joey Moxey always overcomes adversity. His story is full of hairbrained schemes, breathtaking escapes, and the loving support of friends, like Tina the cat, Oogak the jungle boy, and Sadie Donut the policewoman. These stories provide a way for Tillie to understand her own world.
Finally, the grandfather discovers that he has inoperable cancer. Shortly thereafter, Joey Moxey develops a terrible runny nose and "to everyone's disappointment" dies. However, his friends, led by Sadie Donut, gather and agree to continue their friendship and their adventures together.
As you are now, so once was I; Prepare for death and follow me. The novel's advisory epigram prepares readers for the realities of aging and death which affect both narrator and reader. Following surgery, Caro Spencer is delivered to Twin Elms, a nursing home in a rural New England setting. While this intelligent woman requires only short-term care, she is deposited, permanently, in an understaffed, sub-standard care facility by relatives unwilling to add her minor but time-consuming difficulties to their own.
It is not a pretty setting. The staff is overworked and demeaning, especially to the new resident who is well-educated and accustomed to better circumstances. The nursing home routine is careless of individual differences and needs, and set up to strip away autonomy and dignity through petty and cruel indignations.
Caro is able to survive by keeping a secret diary for observations, reflections, and interpretations; ultimately, this alone sustains her. While the voice is that of an elderly woman (as we are now), the journal is for us, those still able to manage their lives, but unable to predict or control end-of-life events.
Summary:In this journal of her 66th year (one of several volumes of her widely-read journals) May Sarton reflects on the depression of losing a long, intimate friend to acute senility, on living with waves of loneliness in a life of chosen and beneficent solitude, and on a mastectomy which followed quickly upon diagnosis. She weaves together themes of friendship, especially friendship among women, mental and physical health, speculating on psychosomatic dimensions of illness, living with an aging body, and the ongoing issues of self-esteem that aging and solitary women confront in a particular way. Each of the 2-3 page entries is a complete and complex reflection, beautifully developed, and often pithy and poetic.
Summary:The Stone Diaries recount the life of Daisy Goodwill (1905-199? [sic]). "[W]ife, mother, citizen of our century," her son closes the benediction of her memorial service. Yet Daisy is also the orphaned daughter of an orphan--her dramatic birth a turning point for her father, the neighbours--and a social outcast. Daisy becomes a happy child, a lifelong friend, a college graduate, a consummate gardener, a cultivator of stories, a pragmatist, a romantic, a widow twice (once scandalously, once more ordinarily) . . . . In short, the diaries of "Day's Eye" bear witness to the extraordinary lives of seemingly ordinary "citizens."
Laqueur writes about his experiences as a volunteer at the Home for Jewish Parents. The elderly he meets there have lived fantastically broad lives, many having fled from eastern Europe in front of the German armies of World Wars I and II. Laqueur explains how different their impressions of world events are from his.
He notes the variety of responses the residents have to their own aging process and that of others. Those who are still mobile and mentally alert avoid those who are not. Some residents cling to life and self-respect, others abandon it. Over all, Laqueur is reassured by his visits. If these people have made it this far through such a crazy century, certainly he, too, can go on.