Showing 971 - 980 of 1008 annotations tagged with the keyword "Love"
Summary:Here is an account of a few years in the life of Quoyle, born in Brooklyn and raised in a shuffle of dreary upstate towns, where the novel begins. In these few years Quoyle metamorphoses from the human equivalent of a Flemish flake--a one layer spiral coil of rope that may be walked on if necessary--to a multi-layered presence with the capacity for constantly renewed purpose and connection. Grief, love, work, friendship, family, necessity, and community effect this transformation, as does Quoyle’s ancestral home of Newfoundland, a place of beauty and hardship, of memory and reverie.
Summary:The Lesbian Body has been called a lesbian Song of Songs. It is a sensual, image-rich picture of one (or, perhaps, many) lesbian affairs. The images are rich in anatomical detail, even employing medical language to describe the lover's body.
Summary:This is a lovely poem about an elderly married couple who share a room at a nursing home. The woman is confined to bed because her backbone is "so thin / the doctor jokes that X-rays can't find it." Her husband's mind is gone. The woman reflects on the morning activities, especially those of the "night girl" who brings the breakfast trays and, later, bends down to take her husband's tray, "the perfume / still lingering from whatever went on / before last night's shift." The woman asks herself: How would this young girl of 20 know that the two elderly people she is caring for once "made love / in the sweetfern high on an island."
Tomorrow, as soon as it dawns, I will go to visit your grave, Papa, Adriana, in the long abandoned family home, reflects on her life before her father’s death when she was fifteen. She remembers their closeness and similarities, but also their distance and differences. Wedded by their physical resemblance, temperament and interests, they are also separated--by silence and sorrow, desires and disillusionments.
One night the adolescent tries to discuss her father’s torment, but both become angry. It is their last conversation. In the hours that follow, her beloved father takes his life with a single bullet.
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.
Summary:The narrator describes the profound impact of motherhood on her life, so profound that she can barely remember a life without children. There has been a conversion to total commitment, " . . . that / instant when I gave my life to them," but when and how did it happen?
Summary:Stone presents a poem that celebrates love and life with poignancy and irreverence. At Christmas time, when it is cold and dark, a father peers past the "tops of pines" still trying to reach for stars and moves from the holiness of the moment to the sons asleep in the house, unaware in their dreams of boyhood things, "how fast we are all dying." Remembering another holy moment, when a child was born in a stable midst "cattle urine rising like steam," the father expresses his overwhelming feelings for life in a joyfully unexpected way: "I pee for joy."
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.
The Stone Diaries is the story of Daisy Stone Goodwill, an ordinary woman born in 1905 in Manitoba, who arrives in this world at the same time her mother leaves it, and who moves through the world as child, daughter, young wife, widow, mother, friend, grandmother, and old woman. What makes The Stone Diaries extraordinary, in addition to the quiet lyrical quality of Shields's writing, is the book's autobiographical form: Daisy tries to tell the story of her life by becoming a witness to her life in ways quite impossible in a traditional autobiographical format (e.g. she witnesses her own birth).
Woven throughout the book is Daisy's sense of never quite being in control, of never being the subject of her own life but rather being pulled along by forces beyond her control. Only during the last dreaming weeks as she lies dying, contemplating her own life and death, does she realize that she's never constructed the story of her life, which she is finally able to do as she "returns to currency all that's been sampled and stored and dreamed into being."
Summary:This poem is one of several by Stephen Dunn in which the dynamics of married life are examined. The speaker begins by saying that in marriage "anything that can happen between two people" eventually will, including things that cause incredible hurt and pain. The couple portrayed in the poem stays together through tacit agreement; whatever the hurtful event, neither refers to it. Instead, conversation centers on harmless subjects such as the garden, work, and little aches. While living together in the same house, the couple remains separate because forgiveness is not forthcoming for the spouse who trespassed.