Showing 801 - 810 of 1017 annotations tagged with the keyword "Love"
While still dating, Sami learns that she is pregnant by Steven. The couple gets married and begins the transformation into prospective parents. Steven's study is turned into a nursery. Sami starts bleeding during the pregnancy and she is placed on bedrest. Unfortunately, Sami has a miscarriage.
When Steven finally decides to clean out the nursery, he finds a sad child occupying the room. Sometimes the baby disappears. After Steven informs his wife about the nursery's occupant, Sami is initially upset but soon she too sees the baby. She dubs the child "Stevie" and accepts the boy as her own, even nursing the baby. Slowly Steven comes to embrace the child as his son, unsure what he had resisted for such a long time.
The scene is a sickroom in which the narrator stands at his dying sister's bed. He wishes that she could be "snatched up / to die by surprise" without ever knowing about death. The sister speaks, "I am in three parts." One is red for pain, one is yellow for exhaustion, and the other is white: "I don't know yet what white is."
The narrator stews for a while in his fears of dying, but his sister speaks again, saying that she is not afraid, but, "I just wish it didn't take so long." "Let's go home," she suddenly says, and he recalls images of their youth, and these images shuttle back and forth into the sickroom until at the end of the poem, "they ratchet the box holding / her body into the earth . . . " [79 lines]
Young Prince Yegorushka has managed to squander his family's limited resources and now lies in a drunken stupor. His mother (Princess Priklonsky) and sister (Marusya) reluctantly send for Dr. Toporkov, the elegant and highly successful physician whose father was once a serf on their estate. The cold, haughty, and uncommunicative Toporkov appears, gives a few orders, and rushes away. Yet, the princess views the man as a savior and exclaims: "How considerate, how nice he is!"
Marusya also falls ill, and Toporkov makes several house calls, "walking importantly, looking at no one." Old Princess Priklonsky tries to ingratiate the doctor by providing him with a hefty bonus and inviting him to tea. But rather than warming up, Toporkov lectures them "with medical terms without using a single phrase which his listeners could understand."
Some time later, a matchmaker arrives with an astounding proposal--the doctor wishes to marry Marusya for a dowry of 60,000 rubles. (The truth is he will marry anyone for that price.) The Priklonsky family immediately turns the down proposition, ostensibly because of Toporkov's peasant background, but really because they don't have 60,000 rubles to their name.
Meanwhile, as time goes on, Marusya falls in love with the doctor. As she becomes sicker with consumption, the family's financial straits become worse. Finally, with her last five rubles, Marusya seeks help from Toporkov, throwing herself at his feet and proclaiming her love. The astounded doctor experiences an epiphany. He suddenly realizes the worthlessness of all his money-grubbing in an outpouring of love for the dying woman.
Summary:The poet recalls an incident when "a far gone girl" comes waddling onto the scene. The month is June; the place, a mountain stream; and the time, when "there was no dark yet between us." Shoeless, the pregnant woman steps into the stream, "your skirt drawn up thighs / white as the growing mists." Years later, he treasures the image: "you waddle with that quick weight / of the beginning, deliberate as the earth's dim intentions / you keep bearing it like glory." [40 lines]
There are two characters in this poem. One is the man with Parkinson's disease, who is being fed: "He will not accept the next morsel / until he has completely chewed this one." The man stands, shuffles to the toilet, pees, and then has his diaper changed. The second character is his daughter, who does the feeding and "holds his hand with her other hand, / or rather lets it rest on top of his." The daughter helps her father to the bathroom and "holds the spout of the bottle / to his old penis." On the way back, as she walks backward in front of him, "she is leading her old father into the future."
Wait a second! A third character--the subject, "I"--suddenly appears on this intimate scene. Near the end of the poem the invisible "I" turns the reader's attention to himself: "I watch them closely: she could be teaching him / the last steps that one day she may teach me." [64 lines]
Fourteen-year-old Kelly is torn between being "best friend" to her mother, who, though she is sprightly and lovely, seems to have withdrawn from adult relationships, and pursuing her own friendships and life at school. Her father, a pilot, is gone from home a lot of the time, so she and her mother live a fairly isolated life.
It is not until her mother is suddenly whisked off to the hospital at the end of one of the father's visits that Kelly learns there is something seriously wrong with her. No one, however, will tell her precisely what happened or what's wrong. She is sent to her grandmother's in Florida to wait out her mother's hospitalization, and for a time isn't even allowed to communicate with her mother by phone.
Eventually she learns that her mother is clinically depressed and has been suicidal. In the meantime she learns a great deal about coping with loneliness, uncertainty, and new adult relationships, with a strait-laced grandmother and a senile grandfather as well as a disabled young man, a neighbor in Florida, who takes her seriously and helps her find a new self-assurance in spite of--or perhaps in part because of--her difficult circumstances. Faced with a choice of boarding school or returning to a mother still in gradual recovery, Kelly firmly opts to live with her mother and learn about both the responsibilities and the limits of caring for a parent who needs love but not co-dependency.
Skye Johnson, a high school swimmer, is training for state finals when a new boyfriend distracts her from her single-minded pursuit of athletic championships. As the romance begins to turn abusive, she finds her boyfriend becoming more of a problem in her life than her brother, who has Down's syndrome, and who accompanies her almost everywhere because he needs supervision.
Her divorced, single mother holds down two jobs and can't be home to care for Sunny, the brother, so he has been largely Skye's responsibility since she entered high school. Sunny wants to learn to swim. Skye knows he is teachable, and could be prepared for the Special Olympics, but doesn't want to devote time to training him, so she secretly arranges to give him lessons with her babysitting money.
A serious confrontation with her boyfriend leaves her with an injured hand which prevents her swimming in the state competition, but which, it turns out, allows her to be present when Sunny swims in the Special Olympics. She finds herself deeply proud of him, and able to see again why she loves this brother whom she's regarded for some time largely as a burden.
An adult sister and brother chop wood on a mountain in Nevada three months after their father succumbed to lung cancer. They reminisce about their childhood--the cabins they built, Spam sandwiches they ate, their tough father. When the poet-daughter thinks of the whippings they received, she says, "They'd have put him in jail today. I used to beg / and run circles. You got it worse because you / never cried."
The man's daughter, Leslie (named after her grandfather), helps them carry and stow the chopped logs. They run into a group of childhood friends, now mostly loggers. "What'll you do next, after the trees are gone?" the poet asks. As they drive home, Leslie falls asleep in the truck.
This poem takes place in the world of grief, a world in which the past and present are intermixed and ordinary day-to-day events groan under the weight of deep meaning. Indeed, the scenes depicted here have double significance; the poet steps out of them like a Greek chorus and comments, "Tomorrow a log pile will collapse / on him and he will just get out alive." The scene of grief over the father's death is well fixed in her memory because it is so closely attached to her brother's imminent almost-death. [169 lines]
This painting represents the artist’s conception of the life cycle in allegorical terms. Childhood, manhood synonymous with earthly love, and old age approaching death are drawn realistically as each figure reflects Titian’s attitudes toward each stage of earthly existence. A plump angel floats ethereally over two sleeping babies, protecting them, but also mirroring their purity.
To the left, he paints the joys [and exhaustion] of youth, the firmly muscled, mature male, perhaps spent from a sexual encounter, being tantalized by a pubescent girl dressed in provocative style to further endeavors. She holds two flutes and by chance is urging him on with her piped, "Siren’s song."
In the background, at the end of his days, a bearded old, stooped man gazes at two skulls, either in terror or in wonder. The exquisite detailed scenery reflects nature in her glory and decline--lofty, weightless clouds float through an azure sky. Parched trees in the foreground reflect the arid remnants of summer landscapes, as the skulls reflect those of man.
One of Hemingway's war and love stories, this novel takes place in Italy during World War I and is tied closely to the author's own experience as an American Ambulance Driver for the Italian Army. The story opens during a lull in the action and the reader meets a group of men who work with the wounded during battle. In the course of waiting for action, the protagonist, Henry, meets and courts an English nurse stationed in Italy.
The core of the tale is the evolution of the love of these two in the face of increasing military involvement, including an engagement in which Henry is wounded and after his return to the front, an Italian retreat from which he barely escapes with his life. Ultimately, he and Catherine, his English love, defect and enter Switzerland to await the birth of their child. Baby and mother both die and Henry is left alone, his future left by the author unplotted.