Showing 811 - 820 of 1017 annotations tagged with the keyword "Love"
Sam Daniels (Dustin Hoffman) and his wife (Rene Russo) are both working for a federal infectious disease laboratory, but their marriage is on the rocks. A mysterious lethal illness, remarkably like Ebola fever, breaks out at various sites in America, all eventually connected to a pet shop that received a monkey from an illegal smuggling operation. Most cases are immediately isolated and contained, but a town in California develops an epidemic of the new disease.
The lab is called in and the military enforces a strict quarantine that divides families and prevents anyone from leaving the area. One worker dies quickly and Sam's wife falls ill. The crass General Donald McClintock (Donald Sutherland) is convinced that the nation can be saved only by the annihilation of the town by a gigantic bomb.
A plane sets out on the gruesome mission. Meanwhile, Hoffman leaps from a helicopter onto the cargo ship where the sailor-smuggler has just died leaving a photo of the monkey carrier. Sam makes a televised appeal for help locating the cute but dangerous, little monkey; a terrified mother responds and the creature is snatched from the arms of her child.
With military snipers in hot pursuit, Sam returns to the town, radioing the baffled bomber pilots with a barrage of reasons why they should ditch their mission of destruction. He puts the tiny monkey to work producing anti-sera and vaccines, which--in only a matter of minutes!--rescue the town, his wife, and his marriage. The pilots disobey orders and dump their bomb in the sea.
Year after year Dr. Lin Kong returned to his country village from his army hospital post in the city with the intention of divorcing his wife, Shuyu. Except for the conception of their single child, Lin and his wife had no conjugal relationship. Their marriage had been arranged by Lin's parents and his wife had remained in the village and cared for Lin's parents until they died and then raised his daughter, Hua.
In the meantime, Lin had developed a relationship with a military nurse, Manna, in his hospital. Manna pressed him each summer to request a divorce from his wife; each summer he got Shuyu's consent, but she backed down when they appeared in court. Still Manna waited--for 18 years she waited for Lin to be free.
Eventually the waiting ended as the law allowed a divorce without consent after 18 years of separation. Lin moved his former wife and his daughter to the city and he married Manna. The remainder of the tale is that of the new marriage. Lin still waits for something that doesn't seem to exist. Manna also waits for a dream that doesn't materialize. Shuyu and Hua quietly wait in the background for Lin to come to his senses.
Gabriel Noone, a late-night radio personality ("Noone at Night" on PBS) who reads his semi-autobiographical stories to millions of Americans, has just separated from his lover Jess when a publisher sends him the proofs of a memoir written by a 13-year-old boy with AIDS. Peter, the young author, has suffered heinous sexual abuse from his parents and hoards of strangers; he lives with his adoptive mother Donna, who was his therapist. Gabriel, shaken by the memoir, calls Peter, a conversation (all via phone, almost all at night) that begins a relationship that quickly becomes an intense, father-son-like relationship that grows deeper as it grows more unsettling as Jess and others begin to cast suspicion on the actual existence of Peter.
Marina, a fourteen-year-old recently transferred from a mental hospital to a boarding school, can't speak. Her muteness is a reaction to trauma; in a moment of fury at her mother, her father threw photographic acid in the car window and, instead of hitting his wife, hit his daughter's face. Severely scarred, both inside and outside, resentful of her mother and bewildered by her father's pain, anger, and now imprisonment for assault, she records her daily life tentatively in a journal assigned, but not read by, a favorite English teacher at her new school.
The girls in her dorm have been apprised of her problem and treat her mostly with respect, but only one of them is fully able to keep making the moves that open a door to friendship. Despite Marina's silence, even in sessions with the school counselor, she begins to heal as she makes her journal (the text of the story) a safe place, allows herself to be included in the family lives of her teacher and friend, and finally summons the courage to visit her father, with whom she retrieves the language she needs, finding, as the title suggests, she has "so much to tell him."
Gabriel McCloud, 18, has just been killed by driving his truck into a tree while intoxicated. The small town goes into shock. The chapters of the novel are narrated successively by key people in Gabriel's life: his girlfriend; a teacher who saw his potential and gave him extra chances he needed; his embittered and violent father; his two brothers, an uncle who has been estranged from the family for years; the son of the local mortician; a buddy; the sheriff. Each of them goes through a particular kind of shock, grief, and reflection following the loss.
Jennie, Gabriel's girlfriend, pregnant with Gabriel's baby, decides to take herself to the beach and commit suicide. She sits for some time on a rock that will soon be buried by the rising tide, but is eventually spotted and rescued by a man she has feared and despised: Gabriel's father. The various voices that give us vantage points on Gabriel's difficult life and violent death testify also to how important even the life of a somewhat wayward, underachieving, confused teenager can be to a community of people who recognize him, some belatedly, as a gift.
Some interesting and very odd characters (including a few scientists and researchers) inhabit the eleven short stories in this collection. In "Concerning Mold Upon the Skin, Etc.," Anton van Leeuwenhoek creates his first microscope and becomes so absorbed by the invisible worlds revealed to him that he neglects his own family. "Nowhere" is the tale of an old anatomy professor who aspires to spice up the curriculum by obtaining a corpse for his students to study. "Tumbling" recounts the difficult life of a young woman understandably haunted by the possibility that she may inherit Huntington’s chorea from her father and her inspired liberation of over one thousand laboratory mice.
In "Chloroform Jags," a professional midwife self-experiments with chloroform "not to escape time but to dissolve time." Other stories describe the execution of an elephant; the murder of a physician who happens to be an important figure in the French Revolution; a woman with a talent for insomnia who has not slept for six months; a psychoanalyst and his patient; an eighteenth century blind beekeeper; and Dorothea Dix, an early advocate for the humane treatment of the mentally ill.
In her Introduction to this posthumous collection, the poet’s daughter writes, "If I had to identify a single distinguishing figure of his imaginative world . . . it would be his preoccupation with the human task of sustaining the intensity of experience against a backdrop of desensitizing forces and death." These 25 poems range across Bruce Ruddick’s lifetime of sensitive responding to those desensitizing forces. Some spring from the pen of Ruddick as a young Canadian poet; others from the life experience of an aging psychoanalyst. All share the discipline, imagery, and economy of line that characterizes them as the work of a fine poet.
In "#25"(p. 10) Ruddick adopts the voice of a medical student who categorizes and quantifies the life of his cadaver. But the patient needs more than this. Indeed, the patient needs "a physician’s ear." ("The Patient," p. 11) Ruddick demonstrates such a sensitive ear in poems like "Ache" (p. 13)," Rehabilitation" (p. 39), and "Fever" (p. 41). And he also puts his "grouchy" heart on the table for all to see in "When the Dog Leaped"(p. 33) and "Spring" (p. 17).
The novel, set in the 1950s in the prep school town of Gravesend, is an extraordinary account of friendship, coming of age, families, "normalcy," politics, faith, and doubt. The title character is an unusually small child--as an adult barely five feet tall--with a strange and striking voice that makes many people uneasy.
The only son of a New Hampshire granite quarrier and his odd and reclusive wife, Owen is best friends with Johnny Wheelwright, the narrator of the book and grandson of one of the town's most distinguished families. The friendship is sealed by a freak accident when Owen hits a baseball that kills Johnny's mother, Tabitha, who is just arriving at the game.
The remainder of the novel is a back-and-forth between past and present as Johnny searches for his identity--his mother is unmarried and never reveals the father's name--and Owen searches for his destiny--he believes that he is an instrument of God. Both searches have amazing resolutions.
Sam (Hume Cronyn) and Cora Peek (Jessica Tandy) dance to celebrate their 50th wedding anniversary, surrounded by friends and children, grandchildren and great-grandchildren. Not long after this party, Cora dies suddenly, and Sam is left alone and depressed. His anxious, protective children try to manage his life, down to what he eats, but Sam wants to be left alone. There is a classic, often comic conflict between the stubborn, independent old father and his worried, controlling children.
To help Sam, his wife returns from the dead as a white dog which he feeds and cares for, but she keeps hiding when the other family members appear, so they think Sam is hallucinating and demented. When Sam has a stroke, however, the white dog runs to a family member's house and barks for help, saving Sam's life. Later, as Sam recovers and walks using a walker, the white dog "dances" with him by putting her front paws on top of the walker. She also saves his life another time when she leads family members to a stream where Sam has fallen. Mostly she is there as his loving companion, leaving only when Sam dies.
Peppered with a plethora of black and white stills, this book is a compilation of a physician's film reviews and reflections on how movies have mirrored the changes in medical care and in society's attitudes towards doctors and medicine over the last sixty years. Ten chapters blend a chronological approach with a thematic perspective: Hollywood Goes to Medical School; The Kindly Savior:
From Doctor Bull to Doc Hollywood; Benevolent Institutions; The Temple of Science; "Where are All the Women Doctors?"; Blacks, the Invisible Doctors; The Dark Side of Doctors; The Institutions Turn Evil; The Temple of Healing; More Good Movie Doctors and Other Personal Favorites.
The appendices (my favorite) briefly note recurring medical themes and stereotypes ("You have two months to live," "Boil the Water!"). Formatted as a filmography, the appendices reference the chapter number in which the film is discussed, the sources of the photographs, and a limited index.