Showing 811 - 820 of 989 annotations tagged with the keyword "Love"
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.
A young boy tells us, "My cat Barney died last Friday. I was very sad." Barney's mother suggests he think of ten good things to tell about Barney at his funeral. The story details his feelings and, from his perspective, the way his parents and friend Annie deal with the loss, ritual of burial and questions of afterlife (heaven, Barney's whereabouts now).
After the funeral, and after helping his father in the garden, comes a new and comforting understanding--the tenth good thing is that Barney's body becomes part of the cyclical process of nature. Fertilizing trees, grass and "helping grow flowers," the boy tells his mother as she tucks him into bed, is "a pretty nice job for a cat."
The story is set in the mid-1950s in Italy, where the old order has passed away and the postwar economic miracle is beginning to blossom. Our heroine, Chiara, is the beautiful 17-year-old daughter of Count Giancarlo Ridolfi, the scion of a distinguished (but now impoverished) Florentine family. Indeed, Chiari's family history includes the romantic tale of a 16th century female dwarf.
The (more or less) hero of our story is Salvatore Rossi, an earnest young neurologist who hails from a Communist family in a poor village in the south. One night Chiara and Salvatore meet by chance at a concert and fall hopelessly in love. Neither one knows how to respond to the powerful emotions that possess them.
Chiara consults Barney, her worldly and loudmouthed English friend from boarding school. What should she do? Salvatore consults Gentilini, his older and overwhelmingly married colleague. How should he proceed? Meanwhile, Cesare, Chiara's avuncular and solitary cousin who lives on the family farm, has his own part to play in the story. And, in truth, the story lurches from one misunderstanding to another as the wedding approaches, eventuates, and recedes into the past.
Terrified of dying from AIDS but even more afraid of living with it, the title character of this romantic comedy--a gay actor/waiter-- makes the ultimate safe choice: to give up sex entirely. Determined to find both a substitute for sex and the meaning of life in the cruel meaninglessness of an epidemic, Jeffrey embarks on a journey through a picaresque and postmodern landscape. What he discovers is that while his desperate renunication of human connection may remove him from the physical experience of death, it will not protect him from the emotional experience of loss.
The poem takes place in a respiratory ward of a children's hospital, where the narrator hears "a children's wind ensemble / hooting through the weary nocturne." One mother is massaging her child's back, "working calm's liniment between shoulder blades / scarcely bigger than chicken wings."
The narrator appears to be a friend or relative, who silently tries to breathe for the breathless child, whose panic is held in check by "his mother's dulcet voice." It seems like everything will be all right "as long as the hand strokes, and while the voice croons . . . " [30 lines]
The narrator was ridiculed during adolescence because he was fat and socially inept at school. He had one friend, Marion, "a slender girl who came up on holidays from the city / to my cousin's farm." He liked to show-off to others, but couldn't express his feelings, especially to Marion, who he only now realizes was "my first love." At the age of 19, during her nursing training, "she had a fatal accident / alone, at night, they said, with a lethal injection / and was spared from seeing what my school did to the world." [28 lines]
Bruno Kamenar is a pale and thin ten year old boy who lives with his stepmother and younger brother in Croatia in 1948. His father, Pero, has just returned home after serving in the Yugoslav Federal Army. With the constant threat of a Soviet invasion serving as a backdrop, Bruno is plagued by frequent nightmares as well as a cough. He finds solace both in drawing and in the company of the family cow.
Sadly, Bruno contracts tuberculosis from the cow's fresh milk. At first he is unable to be treated because the government rejects an offer of free streptomycin from the Swiss. It is only after Pero publicly criticizes his country's refusal of medical aid and becomes a political prisoner that UNICEF physicians arrive at Bruno's home and treat him with streptomycin and PAS.
He recovers and his father is released from prison. As he watches the family cow and its pen incinerated, Bruno is filled with horror and relief by the death of an animal that once provided food and comfort but almost killed him.
This is the story of the ill-fated romance of Marguerite Gautier, a beautiful and brazen young courtesan of Paris, and Armand Duval, her passionate aristocratic lover. After becoming his mistress, Marguerite grows emotionally attached, returning Armand’s love and living with him in the country in order to recover her health.
Estranged from his family and deeply in debt, Armand is confronted by his father who demands an end to the illicit relationship. When Armand defies him, Monsieur Duval convinces Marguerite to release her beloved to secure his future and protect his reputation. Marguerite dies alone and in agony from consumption.
Consider the possibility of a man whose sense of hearing is so enhanced that he can discern the noise of the entire world and also mimic all the sounds made by men and beasts. Imagine a human being who can SEE sounds as well as hear them. It is little wonder that he would have an affinity and talent for music.
Johannes Elias Alder is such a musical genius born in 1803 with a preternatural gift of hearing. The illegitimate son of the village curate, Elias experiences a physical metamorphosis as a child and by the age of ten is already a man. He effortlessly composes magnificent music that he plays on the organ.
Although Elias falls in love with his cousin, Elsbeth, she marries another man. After this loss, he becomes tired of life. Elias commits suicide at the age of 22 by refusing to sleep and succumbing to starvation and an overdose of belladonna.