Showing 941 - 950 of 1224 Fiction annotations
15-year-old Alexandra is envied by her friends for dating Cliff, a popular, athletic senior. But his attentiveness, which she at first finds reassuring, gradually becomes a jealous possessiveness that separates her from other friends. She finds she is afraid to make choices without consulting him, or to do anything social without him. Her behavior is not unlike her mother's, who goes to great lengths to avoid displeasing her father who is quick to anger and insistent upon control and order.
Cliff's anger over apparently small differences becomes increasingly violent as time goes on. He forces sex on her and eventually hits her, after which he apologizes profusely with flowers and promises. By the time this cycle has repeated itself a few times, Alexandra realizes she has to escape. Afraid to do so on her own, she ultimately needs the help of both friends and the police.
A medical instrument kit from the year 2450 is transported back in time and falls into the possession of old Dr. Full, a retired physician and drunkard who had been expelled from the medical association for milking patients. The futuristic instruments are awe-inspiring and virtually operate themselves. The discovery of the black bag restores Dr. Full's self-worth and dedication to healing.
A street-wise woman, Angie, realizes the value of the medical instruments and their origin. She forces Dr. Full to accept her as a partner. The two of them soon establish a successful medical practice. When Dr. Full decides to donate the instrument kit to the College of Surgeons, Angie murders him.
While demonstrating the safety of the medical bag to a patient, Angie plunges the futuristic surgical scalpel into her own neck, confident it will do no harm. Meanwhile, authorities in the future learn that the medical bag is missing and deactivate it just prior to Angie's demonstration. She slits her own throat. By the time the police arrive, the contents of the black bag had already rusted and are decomposing.
The story begins when Pearl comes home from school one day and learns from her mother that her grandfather has died. The following pages take us first through Pearl's feelings, how friends and family help her, her questions about the ritual of sitting shiva at her grandmother's house, her ways of remembering her grandfather. Her father helps her plant a garden, something she had shared with her grandfather, and when her grandmother sees the garden in the spring, she tells Pearl that her grandpa is still alive through her.
This story is subtitled, "An Artist's Story." The narrator is a landscape artist living on the estate of his friend Belokurov. Nearby is the home of the Volchaninovs, a mother and two daughters. The older daughter, Lydia, is a teacher and social activist. The younger daughter, Zhenya (Missie), is warm and lovable. The narrator insists that Lydia's political and social views are wrong.
"In my opinion," he says, "medical centers, schools, village libraries and dispensaries, under present conditions, merely serve the cause of enslavement. The people are entangled in a great chain, and you are not cutting through the chain, but merely adding new links to it." (p. 223). Lydia replies, "It's true we are not saving humanity, and perhaps we make a great many mistakes; but we do all we can, and--we're right." (p. 224)
The narrator falls in love with Zhenya, who responds to him, but he makes the mistake of telling Lydia, who despises him. The next day Lydia has sent her mother and sister away. The narrator never sees them again, although he still has a faint hope: "I begin to feel that she, too, remembers me, that she is waiting for me and that we shall meet one day . . . ." (p. 231)
This is a collection of partly fictional, partly autobiographical stories about a young Russian doctor sent to practice at a rural hospital immediately after graduating from medical school. Muryovo hospital serves the peasantry in a remote region lacking decent roads and amenities like electricity. The doctor works day and night, aided by a feldsher and two midwives. Sometimes he sees over 100 patients a day in his clinic while attending to another 40 in the hospital.
The stories reveal in a clear, engaging style the doctor's anxiety as daily he encounters new problems (his first amputation, his first breech presentation, his first dental extraction) and-- for the most part--overcomes them. They also reveal a constant tension between the peasants' ignorance and the doctor's instructions. Full of blizzards and isolation, the stories are also warm and companionable, with vignettes of friendship, gratitude, and nobility.
The short stories and poems collected in this attractive large-format volume are arranged in sections that focus on particular problems and crises children may face that isolate them from "normal" peers. Themes include sickness, disability, hospitalization, loss, conflict, developmental change, and loneliness.
The stories are simple, most 2-3 pages followed by a few questions to talk about. Each story is accompanied by hand-drawn illustrations. Characters featured in the stories represent a range of ethnicities and socio-economic situations. An introduction gives guidelines to help adults use the book as an instrument for helping children cope with difficult times.
Pipistrel is a tale about difference and lack of understanding. It recounts a teen-aged autistic boy's flight from the destroyed safety of his home to a nearby mountain cave. It also is the story of a mother's love and devotion to this human, yet bat-like creature, whom she bore and whom she can no longer protect.
The mother, Ada, discovers after many months where her son has hidden. She protects his secret hiding place from the townsfolk, but only for a while. After convincing her neighbors that he's no longer in the cave she returns to its depths to find he's fallen from the ceiling and has died. The story's final image is of the mother next to her son's body looking at the drawings he had made on the walls of the cave.
This story draws attention to subtle ramifications of organ transplantation for the survivor(s) of the donor as well as for the organ recipient. Also at issue is coming to terms with the sudden death of a loved one. Hannah, a woman in her thirties, finds that three years after the violent death of her husband, she is still caught, "unable to grieve or get on with her life . . . . "
The physician in charge had persuaded her both to allow life-support to be terminated for her brain-dead husband, and to agree to organ donation. "That way your husband will live on." Seven different people are the living recipients of his organs. To Hannah, it seems that her husband is both dead and not dead, an intolerable situation.
She becomes obsessed with trying to meet the person who received her husband's heart. This will be the means by which she can re-connect to the living and achieve closure--she will hear and feel her husband's heart in the chest of the recipient, her ear "a mollusc that would attach itself . . . and cling through whatever crash of the sea." At the end of the story, Hannah has succeeded in her quest and the man who is the heart's recipient, at first suspiciously hostile, has become Hannah's co-conspirator and protector.
Summary:The wife of an anthropologist can not bring herself to confess to her husband that she had all her upper teeth removed many years before when he was away for an extended period. When she is hospitalized for a hysterectomy, she is told she must remove her dentures. She is appalled that her husband might see her without her teeth and nearly refuses the operation. She is helped by an Indian physician with a limp who understands her needs.
Loosely based on true events in the eighteenth century, this novel chronicles the intersection of two lives. Charles O'Brien, an exceptionally large man, travels along with friends from Ireland to England to exhibit himself. He is a giant in more ways than one. In addition to his immense size, he is also intelligent, compassionate, articulate, and a gifted storyteller.
John Hunter, a Scottish anatomist and scientist, is obsessed with experimentation, discovery, and collection. He instructs graverobbers, dissects corpses, and self-experiments with syphilis. Although both men are remarkable and abnormal, it is the scientist rather than the giant who emerges as the genuine freak.
After the colossus dies, Hunter purchases O'Briens's body for study and his collection. At the end of the story, the giant's bones still hang in permanent display but Hunter's portrait is noted to be fading toward extinction.