Showing 1 - 10 of 1320 annotations tagged with the keyword "Death and Dying"
Summary:This film chronicles the short lives of two Australian gay men from their teenage years into the AIDS epidemic. Following the perspective of Timothy Conigrave (Ryan Corr), the audience witnesses the beginning of his relationship with John Caleo (Craig Scott) at an all-boys school in Melbourne during the 1970s. The two lead distinctly different lives: Timothy is a typical, sexually charged teenager involved in theatre, while John is a subdued, Catholic rugby player. With the help of three female friends, Tim finds himself kissing John at a private dinner party, beginning a stereotypically endearing teenage romance. Alas, their idyll dissolves with John’s father’s discovery of a love letter. He forbids the two from seeing each other, but being typical teenagers, the two disregard his wishes. They continue to date into college. While John is content with their relationship, Timothy expresses his desire to branch out, both in his romantic and professional lives. He applies to and is accepted by NIDA (the National Institute of Dramatic Art) and asks John for a separation while there. Tim, now unencumbered by a relationship, sleeps around in a montage of homoerotic encounters. Eventually Tim and John get back together, but their relationship, like those of most other homosexual men at that time, has become haunted by an insidious illness: HIV. On a seemingly routine check in 1985, both men are diagnosed positive. They assume that John was infected first given his worse lab values; however, Tim returns to his parents’ place for a wedding a few years later only to discover from the Red Cross that he was likely positive in 1981. Tim and John spend roughly the next decade in and out of the hospital, John’s condition being markedly worse than Tim’s. John dies in 1992. Tim is acknowledged as a “friend” in the funeral to appease John’s religious family despite their 15-year-long relationship. Having worked as a writer and activist since leaving NIDA, Tim makes use of his skill to write a memoir with John as the subject. Tim completes the memoir in 1994 Italy and dies ten days later.
Summary:In the lonely glow of her computer, Lorrie Moore’s protagonist FaceTimes her father, who is quarantined in a hospital after contracting the COVID-19 virus following hip surgery. She explains to him the circumstances of the pandemic and names the celebrities and political personages who have tested positive for the virus. Befuddled by hydroxychloroquine, her father passes in and out of hallucination and lucid conversation but jokes when he can despite the side-effects of the “bullshit malaria drugs.” The counterpoint to her sadness for her father is revulsion for the “ghastly” new rituals and habits of indefinite quarantine—the performative antics of Zoom concerts, YouTube binges, bizarre insurance commercials, Bible readings, and social distancing. She is appalled, too, by “well-to-do white families in large suburban homes” that claim “the pandemic for themselves,” families that sanitize grocery bags and order from Amazon and Grubhub. Intermingled with the numbing ennui of quarantine is disgust for the consumerism that thoughtlessly implicates human life, the front-line workers who make these convenient services possible. The protagonist and her sisters coax the hospital staff to comfort their father, play his requested Brahms symphony (any one of the four will do), and give him lemonade, but the “visored hazmatted nurses dressed like beekeepers” are overwhelmed and appear unapproachable, even threatening.
Summary:The Talking Cure is Jack Coulehan’s 11th book, seven of which, including this collection, are books of his poetry. This collection begins with selected works from his six previous books of poetry and continues with a selection of poems in the imagined voice of Chekhov. These sections are followed by previously uncollected poems, and the book ends with 25 new poems reflecting the title of this book--“The Talking Cure”. The poems represent multiple viewpoints—patients, caregivers, family members as they struggle to make sense of the vicissitudes—and unexpected joys—in life. The poems have appeared over the past four decades in medical journals (primarily Annals of Internal Medicine and Journal of the American Medical Association) and in many literary journals including Prairie Schooner and Negative Capability Press.
Summary:At 23 years of age, Caitlin Doughty went to work for a crematory in Oakland, California, and looked human mortality right in the eye. She reports on her first six years in the funeral industry, learning about it and also resolving to stay in it so that she can improve it. Her eye-witness account provides the basic narrative structure of this book.
Summary:Cortney Davis has divided this collection of her poetry into seven major sections which she calls “Voices.” The first and last sections are “Voices of Healing” which frame and wrap around the others: “Home,” “Desire,” “Suffering,” “Faith,” and “Letting Go and Holding On.” The sections include previously published poems as well as new ones. Davis is known for her ability to see and understand what is going on and to express that in ways that help the reader “get it.” This collection also shows her ability to hear the unique voices that express suffering, faith, desire—and to convey empathic understanding of the speaker. Sometimes she gets angry with the speaker. The poems range through time, from her childhood, nursing training, nursing experiences, deaths of her parents, to more current experiences with grandchildren. Throughout there is a consistent caring and compassion, mixed with many other feelings, many of them contradictory.
"The board in the meanwhile has wandered farther under the bridge, but always in a right angle to the fifth post. Now it is under the middle of the bridge. From here it sails towards the fourth post, though only for about a foot. And here it stops as if it were nailed to the water. It does not mind the current nor the light breeze that sweeps softly across the surface of the river. The manner in which the board has halted is entirely different from that in which it stopped before. Now and then it trembles slightly, as if something were breathing against it from below. But it no longer whirls. ... The board begins softly to dance as if impatient. It seems that it wants to be relieved of its torture. It wriggles, swings about itself, though it does not move as much as two inches. One might think it is trying to go down to the bottom."A villager dives and retrieves Carlos and hands his body to his mother:(page 110-1)
"With an indescribable nobility and solemnity, and in his eyes that pitiful sad look which only animals and primitive people possess, he steps slowly forward. And Perez, the man whose daily task it is to fell the hard trees of the jungle and convert them into charcoal, lays that little water-soaked body in the outstretched arms of the mother with a tenderness that makes one think of glass so thin and fragile that a single soft breath could break it."The villagers, in a procession that is tragicomic, take Carlos' body to the graveyard where a well respected teacher, now drunk from all the mescal others have offered him, gives an eulogy that suggests Christ's Sermon on the Mount. However, with inverted symbolism, this sermon is for, not by, Jesus and is delivered by a drunken priest-figure who is so drunk he falls into the open grave. To Traven's credit he introduces this farcical moment to emphasize how none of the villagers, much less the author, and, consequently, the reader, laughs at a decent man trying his best to honor Carlos. It is truly a most moving finale to a most moving book.