Summary:

Henry Earlforward runs a crowded, dusty bookstore. He meets his neighbor, Mrs. Violet Arb, when they haggle over the price of a cookbook. She refuses to buy the book as she finds every price too high. Henry is a miser and admires her steadfastness. They eventually marry.

Henry is outraged at the cost of the wedding breakfast and grows increasingly annoyed as his new wife insists on spending even more money to celebrate. Sensing a threat to his savings, Henry grows more miserly than ever, refusing to light the stove and eating almost nothing. Violet insists that the maid, Elsie, cook steaks and omelets for them. When her husband refuses to eat them, Violet refuses too.

Henry finally becomes ill. Dr. Raste urges him to go into the hospital, but Henry fears losing his autonomy and his life. He only consents after much arguing. When the doctor arrives to pick him up, however, Violet is much more ill than her husband. She is taken to the hospital, while Henry resolutely refuses to go.

To Dr. Raste, the family is ridiculous and annoying. They are business he must put up with. Henry still holds his purse-strings tight and Elsie is forced to steal money from him to send for news of Violet. Violet dies after an operation for the removal of fibroids from her uterus. She was too undernourished to handle the intervention.

Henry still refuses to change his ways and even leaves his bed to check on his books. He discovers Elsie’s theft. Neighbors find his body on the floor of his office. Elsie and her lover Joe go to work for Dr. Raste.

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Summary:

This large, wide-ranging anthology is subtitled Poems for Men. The editors consider 16 aspects of male life and experience, and present groups of poems illustrating each aspect. Each section is introduced by a few pages of commentary. Representative sections include Approach to Wildness, Father's Prayers for Sons and Daughters, War, I Know the Earth and I Am Sad, Making a Hole in Denial, Anger Hatred Outrage, Earthly Love, and Zaniness.

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Summary:

Richard Koslowski, a 32-year-old computer systems supervisor and musician, breaks a tooth when he bites an olive pit. Although the remnant of the damaged tooth is removed during his initial visit to the dentist, Koslowski embarks on a peculiar quest. He longs to find a perfect-fitting dental bridge, to eliminate a mysterious oral pain, and to measure up to the suffering his parents have endured as survivors of concentration camps.

He eventually elicits opinions or treatment from ten different dentists and specialists. Koslowski realizes that he has sustained more than just a cracked tooth. His entire life is now fractured. Koslowski becomes obsessed with his teeth. His girlfriend, Lisa, is a law student who is passionate about women's rights. She travels to Bosnia to interview and assist rape victims. When Lisa returns, she breaks up with Koslowski. His suffering seems so small and his life so insignificant that she can no longer tolerate him.

Koslowski's father is dying of a brain tumor but remains stoic until the end. Koslowski, on the other hand, has a poor pain tolerance. After undergoing multiple dental procedures--tooth extraction, root canals, a series of gum cleanings every week, and finally dental implants--Koslowski ultimately resigns himself to living with the discomfort in his mouth. His "reward" is marriage to a disabled woman, three children, and an ordinary life filled with minor ailments and nuisances.

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Summary:

In three sections of remarkable narrative poems, Fraser reviews how his own and his family's lives are utterly changed by the birth of his youngest brother, Jonathan, who is profoundly disabled by spina bifida and has survived into adulthood--long beyond what doctors predicted. An introduction provides the context: the poems chronicle a hard journey from denial, shame, and anger to acceptance. As Fraser writes toward the end of the final, title poem: "We must learn to cherish chance to have one." But chance has dealt his brother, and so his family, a particularly hard blow.

The first section focuses primarily on his own remembered reactions and reflections--his guilt, his cluelessness--as a child and adolescent; the second on relationships with family and friends as an adult, all of them partly shaped and shaded by the ongoing suffering of his disabled brother; the third and longest, an exercise in empathy-with his mother and with Jonathan, neither of whose suffering, he realizes, is entirely imaginable to him. The poems are regular free verse, rich with allusion, emotional precision, and narrative detail.

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Summary:

Filomena is the wife of the miller, Malaquias. She is miserable with labor pains and has been bedridden for three days. Her childbirth is failing to progress, and death seems likely for both mother and baby. A tiny hand protrudes from Filomena's vagina signifying the stalled process of birth and the urgent need for medical assistance. The midwife in this Portuguese village is not capable of performing such a difficult delivery. The local doctor is ill. He advises Malaquias to fetch a physician from another town but the cost is too great.

The Catholic priest, Father Gusmao, makes a nocturnal procession carrying the Holy Eucharist to the miller's home. He intends to administer Communion and Last Rights to Filomena. The priest examines her and discovers that Filomena's baby is in the breech position. He has little choice but to attempt delivering the baby by himself. Although Father Gusmao read a medical manual long ago, it is primarily intuition that steers his daring act. First a foot, then the body, and finally the head of a baby boy emerge from the birth canal. Mother and child survive. All the while, the Holy Eucharist in a pyx sits on top of a chest of clothes near Filomena's bed witnessing (or perhaps guiding) the entire sequence of events.

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Summary:

This collection traces the writer/speaker's journey through her husband's diagnosis to his death of cancer and through the first year after loss, ending with an eight-part poem entitled "The First Yahrzeit," (69) that commemorates the one-year anniversary of her husband's death. The poems vary richly in tone, structure, and focus, some vividly descriptive of the experience, some obliquely figurative, some simple pauses over a moment or an object that has become evocative or sacralized in the course of mourning. Every one offers a surprise line or image that is worth returning to. The whole chronicles a journey of a kind many have had to take, and offers a testimony of hard-won, ambiguous healing.

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Summary:

Joan Didion has written a very personal, powerful, and clear-eyed account of her husband's sudden and unexpected death as it occurred during the time their unconscious, hospitalized daughter was suffering from septic shock and pneumonia.

Quintana, the couple's 24-year-old adopted child, has been the object of their mutual care and worry. That John Gregory Dunne, husband and father, writer and sometime collaborator, should collapse from a massive, fatal coronary on the night before New Year's Eve at the small dinner table in their New York City apartment just after their visit with Quintana can be regarded as an unspeakable event, beyond ordinary understanding and expression. "Life changes fast . . . in the instant. You sit down to dinner and life as you know it ends" (3).

As overwhelming as these two separate catastrophes are, the account provided by Didion evokes extraordinary descriptions of the emotional and physical disorientations experienced by this very lucid, but simultaneously stunned and confused wife, mother, writer dealing with the shock of change. Her writing conveys universal grief and loss; she spins a sticky filament around the reader who cannot separate him or herself from the yearlong story of difficult, ongoing adjustment.

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Summary:

The devoted, and antagonistic, bond between a dramatic, charismatic widow (Shirley MacLaine) and her quietly rebellious daughter (Debra Winger) is the focal point of this film's exploration of a range of human relationships and their changes over time and under various pressures, including that of serious illness. The major focus of the last part of the film is the illness and death of the daughter from cancer and its impact on her mother, her husband and children, and their immediate circle of friends and lovers.

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Summary:

This two-page story is a tour de force. A jaded book critic, known to us only as Anders, is standing on a long line at the bank. He engages in sarcastic, belittling repartee with the women on line ahead of him. Suddenly two ski-masked bank robbers--one with a sawed-off shotgun--appear and threaten everyone.

Anders can't keep his acid tongue quiet. He seems incapable of recognizing the real danger and instead keeps up a commentary, like a cynical uninvolved reviewer. He explodes with laughter--and is shot in the head. "Once in the brain . . . the bullet came under the mediation of brain time . . . ." "It is worth noting what Anders did not remember, given what he did remember."

The remainder of the story is a list of incidents that the victim does NOT remember, during the seconds while he is dying, followed by what he does recall. The bullet, "in the end . . . will do its work and leave the troubled skull behind, dragging its comet's tail of memory and hope and talent and love . . . . "

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Summary:

Poet Jane Kenyon, very ill with leukemia (from which she died after a 15 month illness), describes what it is like to be so weakened by illness that she prefers to wait in the car while her husband buys the groceries. She is aware of how weak, helpless, and out of place she is--a middle aged woman, sitting in the car in a parking lot in the middle of the day--"she had learned what it's like / not to be able to button a button." She watches enviously as those around her--"even the old and relatively infirm"--scurry about "with such freedom" and drive off in their cars "so briskly . . . ."

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