Showing 851 - 860 of 879 annotations tagged with the keyword "Society"
Summary:The doctor-narrator is working in a hospital during the Great Depression. The pediatric ward cares for many children left there by families unable to feed or care for them. The doctor sometimes thinks the children should just be allowed to die. One particular child captures his interest. She has a high fever and he cannot figure out why. Her condition becomes progressively worse and she dies. It turns out that she had meningitis. Perhaps he could have saved her if he had made the correct diagnosis. Yet, he doesn't feel guilty.
Bette is a poor spinster, a frequent visitor at her cousin Hulot’s household. When the story opens, the Hulot family fortune has been decimated by Baron Hulot’s mistress. He spends all his money on her, leaving his wife, Adeline, and daughter, Hortense, to struggle meagerly along. Hortense, whose dowry is shrinking daily, mindlessly amuses herself by teasing Bette about her "lover", the sculptor, Count Steinbock, who lives above Bette’s apartment. Bette treats the sculptor maternally but loves him with a jealous affection.
Hortense decides she must meet Steinbock and the two fall in love at first sight. Though Steinbock has little money, Adeline agrees to their marriage, but the engagement is kept from Bette. Baron Hulot’s mistress leaves him and he becomes invoved with Madame Marneffe, the wife of one of his employees.
Cousin Bette is bitter towards the Baron and his family because they treat her like a servant. When she hears about Hortense’s engagement to her friend Steinbock, she determines to destroy the whole family. Bette introduces Crevel (whose mistress Hulot once stole) to Madame Marneffe and he becomes a rival lover. Bette also anonymously has Steinbock imprisoned for his unpaid debts.
Meanwhile, Madame Marneffe seduces Steinbock. She then secures her power by telling each of her lovers that he is the father of her unborn child. Hulot reaches the end of the line shortly thereafter, when it is discovered that he has been stealing money from the government. Hulot’s brother dies of grief and Hulot himself goes off to live with a seamstress in the slums.
Madame Marneffe and Crevel also meet miserable ends. Several months later, Adeline discovers her missing husband while on a charity mission. He comes home, but soon seduces the maid. Adeline then dies, her emotional reserves exhausted.
This is a film story in which non-professional actors play themselves. It concerns six old women and their bus driver, a middle-aged woman (Michelle Sweeney), who, when their bus breaks down, are stranded in an isolated countryside. In the two days that follow, they find shelter in an abandoned and derelict house, conspire to find food, and learn about each other and themselves through personal disclosure and storytelling.
Before meeting any of the women, the audience hears their child-like chatter and laughter as they emerge from a deep fog cover into the sunshine. Clearly the women are old, but viewers soon regard them as sisters at recess giggling at the novelty of their unexpected adventure, happy to be in good company. When they reach a dilapidated and deserted house, it offers no amenities: no beds, no electricity, no water, no food. Each woman approaches the situation in a different way, but there is a buoyancy and resourcefulness about them in spite of some possible apprehensions concerning rescue and survival.
Any notion that this is a group of interchangeable old women is quickly dispelled. Separate stories unfold against spectacular scenery and humble shelter, as they try to fix the bus, catch fish with pantyhose, hunt for frogs, collect hay for mattresses, paint, laugh, sing, and sigh. In contrast to the current portrait, additional glimpses of the women are provided by superimposed photographic montages or snapshots of each character when she was younger.
One woman (Mary Meigs) is a lesbian, another a nun, another a survivor of stroke. Some are braver than others, and some have moments in their past that, when alluded to, are profoundly moving. One, we believe, is especially vulnerable and ready to die. Another, Cissy (Cissy Meddings), makes us laugh out loud; stooped and stroke-addled, she is full of life and silliness, while enduring the quiet pain of a partially explained isolation from her son and grandchildren, only the facial expression and eyes letting on. Catherine (Catherine Roche) the nun, who will make the long walk for eventual rescue, brings a serenity to the group, while a good-natured and extremely resourceful Mohawk elder (Alice Diabo) demonstrates both strength in the face of adversity and unhappiness in recollections of her marriage.
Their outer bodies belie the inner sense of being. Except for one woman who wears a wig to cover her thinning hair, none of the characters are concerned about their appearances. We may see them as old, but their actions and spirit suggest playfulness, creative energy, and wisdom. Their options may be gone or diminished, but they think of themselves as ongoing persons with much more to say and do.
Except to say that the women survive the ordeal, there are no resounding triumphs. Viewers, possibly the strangers referenced in the film’s title, gather with the good company of old women to learn about life and themselves, especially the vitality and worth of persons frequently isolated from mainstream society. For a brief time, a new society gathers and sifts experience for mutual benefit. We know about the darkness to follow and wonder what their lives will be when they are found, when this moment has passed.
Mrs. Turpin and her husband enter their doctor's waiting room and immediately Mrs. Turpin begins to assess the other patients present: a pleasant, well-dressed lady; a "white trash" woman and her mother and son; a fat adolescent with acne. She and the pleasant woman strike up a conversation about the importance of refinement and good disposition. They discuss, for example, how you have to be nice to "niggers" to get them to do any work. The "white trash" woman counterpoints with comments that indicate her ignorance and poor breeding.
Suddenly, the fat adolescent throws her book at Mrs. Turpin and tries to strangle her. The girl is subdued by the nurse and her mother and the doctor sends her by ambulance to the hospital, but before being taken away, she whispers to Mrs. Turpin, "Go back to hell where you belong, you old wart hog." At home, Mrs. Turpin confronts God. Was this experience a message from Him? She demands of God, "Who do you think you are?" As the sun sets, a "visionary light" comes over her and she has a vision in which the "niggers" and "white trash" march on the bridge to heaven ahead of good, respectable people like her.
Humphry Clinker is an epistolary novel, a collection of letters, that charts the adventures of a family group traveling through Britain. The head of the family is Matthew Bramble, a gouty old man, who is constantly writing his doctor with his complaints and visiting areas supposed to be good for his condition. He is accompanied by his niece, Lydia, who is in love with a poor man, Wilson. Her brother, an Oxford student, also comes along, as does Bramble's unwed sister, Tabitha. Tabitha's maid, Winifred Jenkins, accompanies her.
The group travels to Bath, London, Edinburgh, and the Scottish Highlands. Along the way, they meet Humphry Clinker, a dull-headed creature who becomes devoted to Matthew Bramble, even saving his life. He turns out to be Bramble's illegitimate son. Lydia's lover is discovered to be the son of a wealthy man who is Bramble's friend; they are finally happily married.
Tabitha marries Lismahago, an eccentric captain. Winifred Jenkins joins the festivities by marrying Clinker. Relieved of the feminine presence and bother in his life, Bramble recovers his health, writing to his doctor that from now on he will go hunting rather than write letters.
Frank Gresham is the squire of Greshambury Manor in the fictional county of East Basetshire. His wife is the aristocratic Lady Arabella, daughter of Earl de Courcy. Because Lady Arabella's and her husband's tastes are more expensive than their means, Gresham goes heavily into debt and has to sell part of his property to the uncouth, but extremely wealthy, Sir Roger Scatcherd.
Thus, it is determined by Lady Arabella that their son, Frank Gresham Jr., must marry an heiress to restore the family fortunes. Doctor Thomas Thorne is the senior Gresham's close friend and advisor. Doctor Thorne is a bachelor who has raised his niece Mary as if she were his own daughter. In reality, she is the illegitimate daughter of Sir Roger's sister and the Doctor's brother. (Sir Roger had killed Henry Thorne in a fit of passion over his sister's shame; the Doctor sent Scatcherd's sister to America; and Scatcherd served time in prison before going from rags to riches in the railroad contracting business.)
The novel tells the story of the apparently hopeless romance between Mary Thorne and Frank Gresham; and Gresham's mother's attempts to have him marry into a wealthy family. Ultimately, both Sir Roger and his reprobate son, Sir Louis, die of complications of alcoholism. It then turns out that Mary Thorne is sole heir (as the "eldest child" of his sister) to Sir Roger's fabulous fortune. Eventually, Frank and Mary marry and establish their home at Boxall Hill, which is actually built on the land that Gresham had sold to Scatcherd.
Summary:In this story, Earth's inhabitants have moved below terra firma where their every need is met and every act controlled by "the machine." A young rebel protesting against the loss of authenticity and the reverence for abstraction seeks to communicate with his mother about his need to go to the surface of the earth. This act of direct experience terrifies his mother who is sure that her son will be sentenced to "homelessness." The son does experience the beauty of the earth and returns to prophesize the end of the machine and the "civilization" it created.
Summary:This is a generous and good-natured pastiche of a narrative poem evoking a "typical" Chekhov story and crowded with many of Chekhov's favorite images, settings, and situations. It begins: "Sunset clings to the samovar, abandoning the veranda, / but the tea has gone cold, or is finished . . . . " In the country house, Varvara Andreevna, Maximov, Dunia, Erlich, Kartahov, and Prigozhin (the doctor) carry on their ordinary business in the "oppressive midsummer twilight . . . . " Does Varvara Andreevna love the doctor? Does Erlich love Natalia Fiodorovna? Is anything going to happen? The poem ends: "In the provinces, too, nobody's getting laid, / as throughout the galaxy."
The title of this volume is taken from William Carlos Williams's Patterson, where the spray over the falls on the Patterson River "brings in the rumors of separate worlds." In the Introduction Coles evokes his friendship with Williams and Williams's vision as the stimulus for this poetry.
The first section consists of poems evoking incidents and people from the author's childhood. The second section includes a number of militant poems from Coles's 1960's work with black children in the South, and later poems dealing with Nicaragua and Northern Ireland. The final section, entitled "On the Day Jesus Christ Was Born," is a set of Christmas poems evoking various times and places in the poet's life.
The narrator remembers a science fair she participated in as a child. The projects presented were diverse. One boy weighed mice before and after killing them in order to measure the weight of the soul. Another made an atom smasher. A girl made cookies from Euglena. The narrator rubs the tar of cigarettes into the shaved backs of mice in order to discover the tremulousness of life.
The narrator says she recalled the fair because the dusky seaside sparrow just became extinct, though its cells are frozen at Walt Disney in case it is ever learned how they may be cloned. She concludes by noting that the cookies won the prize.