Summary:

The Civil War antique, 104 year old "General" Sash, is the central figure. For him, "living has got to be such a habit . . . that he couldn't conceive of any other condition." This tale opens with a carefully crafted description of the absolute mutual inability of the principles--Sash and his 62 year old granddaughter, Sally Poker--to operate on the same wave length. Sally dotes on the fabricated fame of her ancient grandfather, and Sash, whose memory is essentially gone except for his recall of "beautiful guls" and his love of being on stage, lives for the moment while scarcely grasping it.

The story evolves around the later-in-life acquisition of a BS degree by Sally, and her need to have her "famous" grandfather behind her at the ceremony in his full Hollywood military attire. The anticipated day, a hot, muggy day in the south, arrives. The principles, with the addition of a 10 year old relative as wheelchair jockey, take their places for the ceremony. The final pages of the story enter--literally and figurative--into the head of the "General" as he perceives his personal "black procession."

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This slim volume dips into "quotable quotes" drawn from literature and historical writings dating back several centuries. The quotes are put forth by physicians, patients, observers of medical issues, and writers of fiction as well as essayists. Each quote is but a few lines. The author, the source, and the date (when known) are provided for each quotation.

Many of these quotations will be familiar to persons who are widely read or who study the literature by and about medicine. Some of the quotes are scatological in the sense that they address issues of bodily parts and functions; others are simply amusing, while many are profound observations. The range is wide and the selections eclectic.

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Margaret Binton and three New York City friends travel to Miami in a motorcoach Margaret won in a church raffle. They park on a street, Margaret argues with the policeman who gives them a ticket, and they make connections with the police that later pay off. Feeling sorry for the elderly people sitting on the porches of nursing homes on the street, Margaret, Sid, Bertie, and Durso decide to give them day trips in the RV.

At one rest home they find locked doors and no welcome. Margaret's insistence gets her inside for a brief talk with the owner, but as she leaves, one of the old men slips her a note that says "Prisoners . . . since The Eternal Holidaze." (56) Margaret and her friends figure it's the name of a boat; they find it and determine to help those in the nursing home. Needing proof, they send Sid undercover. Sid's ingenuity and gumption as well as luck and the help of his friends save his life, literally at the last minute.

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This memoir of Bayley's life with novelist Iris Murdoch who, in 1994, began exhibiting signs of Alzheimer's disease, is divided into "Then" and "Now," with emphasis on the "Then." Bayley admits that their independent lifestyles, which had both bound them and allowed them freedom, kept him from knowing the "real" Murdoch; sadly, the novelist is almost as much an unknown to him as to us. He speaks of Murdoch's lack of any sense of superiority and her disinterest in social or artistic success; she simply did her work.

In the brief section titled "Now," Bayley presents seven episodes of their life together between January and December 1997. These pictures of Murdoch lost and at sea, following him around, uttering "mouse cries," collecting pebbles, moss, sticks, dead worms, and asking over and over "When are we going?"--these will be familiar to Alzheimer's families, as will his sometimes rage and his constant sense of frustration and loss.

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The title of this variegated narrative hardly does it justice. Though some of the most eloquent passages are about the lingering death of the author's mother, Ruth Johnson, from esophageal cancer, it is, just as centrally, the writer's memoir of growing up with the woman she has just seen through her final years of diminishment and loss, and commentary on her mother's art as testimony to her quirky, original, unconstrained, sometimes jaundiced, often hilarious view of the human comedy.

Hillary Johnson returned to Minneapolis from New York to be with her mother and stepfather after years of only intermittent contact and in the process of reentering her mother's life, came to reassess her own. Ruth chain-smoked, drank freely, lived spontaneously, painted uninhibitedly (40 illustrations include examples of her artwork) and often bestowed her art without price wherever it was appreciated. She was a local celebrity and the daughter, who has achieved her own success, finds in her mother's life a new measure of her own. In retrospect, she recognizes the costs, both to her mother and to herself, of the bohemian way of life she knew as a child, and the pain she didn't at the time fully recognize as such.

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This anthology of "healing poems" is designed, according to the editors, "to find readers who might not usually read poetry." They say it should also be read "by those sitting in waiting rooms in surgeries and outpatients' clinics." These are definitely large tasks to expect this small collection of poems to accomplish, but in a different world (for example, a world in which people believed in the power of poetry to heal), this particular anthology would have a good shot at becoming a standard waiting room fixture.

The therapeutic intervention is well thought out. The editors have arranged the book into eight sections, each containing poems that exemplify a different theme, or situation, or style of treatment. The sections include: Admissions, Poems to Make You Feel Better, What It Feels Like, For Those We Love, The Language of Pain, Healing Rhythms, Body Parts, and Talking to the Dead. There is considerable overlap among these categories, because good poems speak several languages and can't be pinned down to a single feature. However, the classification does serve a heuristic purpose. It is another way to hook the reader, by choosing a topic he or she likes; once inside the covers, the reader may explore at will without regard to categories.

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In poetry and prose the writer chronicles her father's final months as Alzheimer's disease progressively seals him into a world where those who love him can't follow. Each short segment details a moment on the writer's journey as witness to his losses: moments of confusion--his and her own, uncertainty about appropriate diplomacy, invention of new activities and rituals to keep him linked to love and alive.

With sure, spare language, she sketches in her own memories, bits of family stories, irrational feelings, the different way she comes to look at home, at family relationships, even at familiar objects. More a song than a story, the collection of vignettes offers both comfort and realism to those on similar journeys of slow loss.

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The physician-narrator recounts two unsettling house calls made three decades earlier when he began his medical practice in a remote part of Virginia. The doctor is asked to see Alan Jordan at the request of his wife, Judith. They live with their son and three elderly female relatives in a deteriorating house on a secluded estate known as Jordan's End. The Jordan clan is notorious for marrying their own relatives, but Alan wedded someone outside the family.

Judith is beautiful, and in the doctor's eyes, ethereal. Alan's infirmity began 3 years ago with brooding and melancholy but has now progressed to episodes of withdrawal alternating with agitation. A renowned psychiatrist from Baltimore evaluates Alan, deems his condition incurable, and recommends institutionalization.

Mental illness and insanity--the result of heredity and inbreeding--seem to affect all the Jordan men. Alan's grandfather and two uncles are in an asylum. His father died in one. After the narrator examines Alan, he gives Judith a bottle of opiate medication to help ease her husband's restlessness.

The doctor is soon called back to Jordan's End. He finds Alan's dead body in bed covered by a linen sheet and notices that the full bottle of medicine he left only two nights previously is now empty. The doctor cannot decide whether or not Judith has killed her husband nor does he really want to know.

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An overthrown Latin American ruler, Mr. President, is exiled to Martinique. The 73-year-old man develops a peculiar pain in his ribs, lower abdomen, and groin. He travels to Geneva, Switzerland in search of a diagnosis. After extensive medical testing, he is informed that the problem resides in his spine. A risky operation is recommended to relieve the pain.

The President meets a fellow countryman, Homero Rey, who works as an ambulance driver at the hospital. Homero schemes to sell an insurance plan and funeral package to the sick man, but the President is no longer wealthy and lives frugally. He is reduced to selling his dead wife's jewelry and other trinkets to pay the cost of his medical expenses and operation.

Homero and his wife, Lázara, grow fond of Mr. President. They provide financial assistance and care for him after he is discharged from the hospital. The President returns to Martinique. His pain is unimproved but no worse either. He resumes many of his bad habits and considers going back to the country he once ruled, only this time as the head of a reform group.

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Summary:

In 1950 London, lower middle-class (but upper middle- aged) Vera Drake (Imelda Staunton) devotes herself to family and "helping" others. With empathic cheeriness, she visits shut-ins, provides tea for the bedridden, feeds lonely men, and "brings on their bleeding" for girls in trouble. She also tends her cantankerous, ailing mother, who has never revealed the identity of Vera’s father.

The men in Vera’s life are bruised and confused by end of the war. Exuding affection, she cooks, irons, sews, and listens to their litanies of loss and derring-do. Her son, Sid, is an extroverted clothing salesman and her dowdy daughter, Ethel (Alex Kelly), is a pathologically shy factory-worker; neither seems adequate for the task of living alone. But Vera and her husband, Stan (Phil Davis), are happy in each other, their offspring, and their modest existence.

Only the friend, Nellie, knows of the help for young girls. She extracts a secret two-guinea fee for advising the girl, but Vera receives not a penny. Over the years, the two women have solved problems for mothers with too many children, mothers with no man, and mothers who were raped. They also safely abort insouciant party girls who are blas?about men, sex, and consequences.

But a young girl falls seriously ill following an abortion and is sent to hospital. Under pressure from police, the girl’s mother divulges Vera’s name. The police barge in to arrest her just as the Drake family celebrates Ethel’s engagement to one of the lonely men, Reg (Eddie Marsan).

The criminal charges come as a complete surprise to the family. Sid seethes with anger and disbelief, but Stan’s implicit faith in his wife brings him and the others to support her through the long trial. The judge hands her a stiff thirty-month sentence intended "as a deterrent." But in prison, Vera meets two other abortionists who tell her that she is lucky: both are serving much longer, second sentences, because their "girls" had died.

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