Still Alice

Glatzer, Richard; Westmoreland, Wash

Last Updated: May-11-2023

Sharma, Sneha

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Still Alice is a dramatic film based on a novel by neuroscientist Lisa Genova. It is the story of Alice Howland (played by Julianne Moore), a Columbia University linguistics professor whose life is upended by the diagnosis of early-onset familial Alzheimer’s disease shortly after her 50th birthday. What begins insidiously with difficulty finding a word during an important lecture, and getting lost on a familiar running trail, rapidly progresses to more devastating lapses in memory and cognition that are a stark contrast from Alice’s usual function. On top of this, the family is faced with the reality that Alice’s children are also at risk for this genetic condition.

Scenes of Alice’s life are intermixed with her extensive cognitive evaluation by a neurologist. In the office, we watch her struggle to remember the name and address of an imaginary person within minutes of her neurologist telling her; at home, we observe the way she forgets beloved recipes, and even the people she has met just moments before.

As the film progresses, it becomes increasingly painful to watch the deterioration of Alice’s condition, and the effect it has on her loved ones. We see the raw humanity of her grappling with this in various realms—in a particularly heartbreaking scene, she experiences incontinence for the first time because she can’t find the bathroom in her own home. In a later scene, she forgets her daughter after watching her perform in a play. Throughout the film, she clings desperately to her phone, in which she has listed certain essential questions about her life that she feels, if eventually forgotten, warrant her suicide by overdosing on sleeping pills.

Despite these enormous challenges to both her sense of self and her relationships, Alice’s character is presented with the resilience of so many individuals who suffer from Alzheimer’s disease. In a pivotal scene, Alice speaks at an Alzheimer’s Association conference; despite needing to highlight each sentence as she reads it to remember what she has already said, she is able to share her story authentically as the audience and her family is moved to tears.

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The Pull of the Stars

Donoghue, Emma

Last Updated: May-02-2023

Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

It is Dublin in late autumn 1918, the waning days of World War I, and nurse-midwife Julia Power is suddenly thrust into the task of managing a small ward of heavily pregnant women who have contracted the deadly influenza. Having survived influenza herself, she does not fear infection, but she worries about her lack of experience. She also worries about her shell-shocked brother with whom she shares a home.

Two people appear to help: the intelligent but uneducated young volunteer Bridie Sweeney raised in an institution; and the legendary woman doctor Kathleen Lynn –who quietly reveals her competence and skill, even as authorities are lurking to arrest her.

Over the course of just a few days, they encounter recalcitrant mothers, complicated deliveries, battered wives, stillbirths, and deaths. Influenza adds special dangers to the natural event, but some patients survive their ordeal.

Although Bridie was to help for just one day, she learns quickly and returns. Julia is impressed by her diligence and drawn ever closer to her kindness and earthy wisdom. They pass a night together sharing confidences, and Julia begins to understand the physical and emotional mistreatment that Bridie suffered in the care of nuns. Their embrace awakens in Julia a yearning she had never imagined. But only hours later Bridie falls ill and succumbs rapidly to the deadly infection.

When an unwed mother suddenly dies after giving birth to a deformed child, Julia is horrified that the baby must be placed in an institution. Instead, she takes the baby home to an uncertain future but sparing the child the same horrors that Bridie once suffered.

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Ava

Mysius, Léa

Last Updated: Apr-17-2023

Teagarden, J. Russell

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

The movie opens with an idyllic, bright, summer beach scene at a seaside resort somewhere along the French coastline. The beach teems with waders and sunbathers enjoying the weather and each other. Ava, a thirteen-year-old girl vacationing with her single mother and baby sister, is napping on a rock wall. A large, black dog makes its away along the beach and encounters the sleeping Ava. She awakes, startles, and the dog runs off. She follows the dog to its owner, Juan, who is in the midst of a lover’s spat. The police come and take Juan away—he doesn’t have “papers.” This is not the last time Ava meets both Juan and his dog.

While on this holiday, Ava sees her ophthalmologist who informs her that her eyesight is worsening—she has retinitis pigmentosa, and a form that progresses to blindness more rapidly than other forms. The ophthalmologist tells Ava:

Your field of view will shrink and you’ll lose your night vision before the circle closes. It can happen very young...Soon you won’t see well in low light...at night when a place is poorly lit, say...You’ll lose your sight soon.

Ava is shattered. She wishes that the ophthalmologist was dead: “He ruined our summer,” she says to her mother, who in response pledges, “we’ll have a great summer. We have two weeks. That’s good. They won’t spoil our summer. Screw them.” What happens during these two weeks comprises most of the movie.

Ava sees her prospects for the future vanish as her vision deteriorates. She needs to get as much life in as possible before then, and it begins with the time she has left at the beach. Feeding this urgency is Ava’s concern that the end of civilization could be nearing based on evidence a recreation staff member provided, and the approval her mother gives for engaging in sex: “My first time was very early. I was thirteen like you. I understand you wanting to try. I couldn’t stop you. You’ll do as you want, I know.” With this permission from her mother and feeling “My mother is probably unhappy with a daughter like me,” little pressure is left that could counter Ava’s desire to accelerate the accumulation of life experiences, no matter how risky.

And so Ava is off and running, making her first act stealing Juan’s dog. This eventually brings them together. Juan is older, looking like he’s in his late teens, and he’s on the lamb. She joins him and experiences sex, plunder, violence, and close calls with police. We are left wondering what will happen to Ava; the circle is closing.

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Living

Hermanus, Oliver

Last Updated: Apr-13-2023

Brungardt, Gerard

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Living is a remake of Akira Kurosawa's Ikiru, itself his homage to Tolstoy's novella The Death of Ivan Ilyich. The screenplay is by Kazuo Ishiguro, who may be the perfect person for the job - born in Japan, raised in Britain, Nobel laureate in literature. The movie stays faithful to the original (some scenes almost frame for frame) while at the same time providing a more contemporary time, place, and English language (with the run time decreased from 143 to 102 minutes) all combining to provide a greater accessibility for many today.

The protagonist, Mr. Williams (Bill Nighy), is the long-standing director of the bureaucratic Public Works Department in post-WWII London. When given a terminal prognosis he starts asking the big questions of life, quickly finding out that not only does he not know the answers but is struggling to phrase the proper questions.

After a brief time trying to find his answers through a night on the town, Williams befriends a former Public Works employee, a bright and vivacious young lady who, journeying with him, leads him to the threshold of what he is looking for. The film remains loyal to one of Kurosawa's most acclaimed devices when, after his funeral, we are told the rest of Williams' journey to find himself as his co-workers share their memories, piecing together the final few weeks of his life.

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George and Rue

Clarke, George Elliott

Last Updated: Apr-06-2023

Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

George and Rufus (Rue) are born one year apart into grinding poverty of a Nova Scotia community, to a violently abusive father and a frightened well-intentioned mother. They have mixed heritage, part Black, part Mi’kmaq. Battered and hungry, they struggle with learning and abandon school after several attempts at grade three.

George is stolid, strives to be good, serves briefly (and badly) in the military, and is happiest doing heavy physical work for farms, gardens, and woodlots. But he can never hold a job for long. He marries Blondola and they start a family in Fredericton, New Brunswick.

Rue is more dashing, calculating, and slippery. He has a self-taught talent for piano and cultivates an odd form of jazz. He falls in love twice and loses both times--first to an accidental death and next to his own imprisonment. Arrested for theft, he serves two years in prison and, upon his release, barges into George’s marginal existence, contributing nothing and menacing the precarious but loving home.

When Blondola goes into hospital for the birth of her daughter, the doctor refuses to let her leave until his bill is paid. George needs money desperately. Rue convinces him to use a hammer to stun a white man – any white man—and take his money. Together they settle on targeting a taxi driver, but the man who responds to the call is George’s friend. He cannot go through with it, but Rue clobbers the driver, cajoles George into robbing the dying man and dealing with the evidence.

The brutal murder and shockingly clumsy aftermath of their barely disguised deeds results in their arrest. During the police interrogation, George tries to explain his innocence and blames his brother. They are tried within the racially intolerant British-inherited court system that wrongly flatters itself to have avoided American excesses of racism. They are executed on the gallows, hanging side-by-side.

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All Our Names

Mengestu, Dinaw

Last Updated: Mar-30-2023

Trachtman, Howard

Primary Category: Literature / Fiction

Genre: Novel

Summary:

All Our Names is a novel built around two overlapping but non-parallel narratives. In one, Isaac, a young man, has recently arrived in the United States from Uganda where he had moved from his rural village to study literature at a university in Kampala. After a few complicated years in Kampala, he appears unannounced in the small town of Laurel in the Midwest with not much more than the shirt on his back. The explanation for his sudden arrival will emerge over time. Helen, a young social worker, is assigned to his case, and despite their cultural dissonance, they fall deeply in love. Their physical and social disparities serve as strong attractive forces, like the opposite poles of a magnet. There are obstacles to their relationship -- their own inherent human weaknesses, the ingrained racism of the Laurel community, and the mystery surrounding the Isaac’s past. They are both smart but lonely people who are uncertain about how open they can be about their relationship, whether they can be seen holding hands while walking the streets or even sharing a cup of coffee in a café.

The second narrative details Isaac’s friendship formed in Africa with a fellow student at the university and their gradual but inevitable involvement in the armed rebellion against the corrupt regime governing their country. There is miscommunication and violence in both narratives. They end with separation of the partners – the social worker and the immigrant and the two African men, one who stays in Africa and meets his tragic end there and the other who comes to America

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Our Missing Hearts

Ng, Celeste

Last Updated: Mar-21-2023

Trachtman, Howard

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Celeste Ng’s Our Missing Hearts is set in the not-too-distant future, in the wake of the Crisis that has ineradicably altered American society. After several years of steadily worsening economic downturn and hardship, there is slowly escalating social unrest. Random political violence erupts across the country. A protester is killed and public opinion is inflamed. In the press and social media, China is blamed for the turmoil. This unleashes a wave of discrimination and persecution of Asian Americans. Emergency laws are passed to restore order and to penalize Asian Americans and their sympathizers for purported anti-American behavior. A punitive program is implemented to remove children from parents who are viewed as enemies, real or potential, to the state.

The story centers on a precocious 12-year-old boy, Bird Gardner. His mother, Margaret Miu, of Chinese ancestry, is a little known poet who wrote a slim volume of poems several years before the social fabric began to fray. Without her knowledge, one of the poems, “Our Missing Hearts”, has been adopted as a literary slogan by an underground anti-government resistance movement She is targeted by anti-Asian extremists and harassed by law enforcement. Rather than have her son “replaced,” the government euphemism for removing children from families deemed disloyal and putting them into foster care, she makes the wrenching decision to abandon him and the husband she loves dearly and goes into hiding for three lonely years. She is haunted by the pain of all the removed children and devises an act of protest. It is modeled on the public works created by current Chinese artists using gunpowder and other unusual materials. Her goal is to increase awareness and hopefully termination of the “replacement” program. Her hope is to trigger mass protest and the return of the removed children to their grieving families. The narrative moves inexorably to an unbearably sad ending.

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Plague Years: A Doctor's Journey through the AIDS Crisis

Slotten, Ross

Last Updated: Mar-13-2023

Teagarden, J. Russell

Primary Category: Literature / Nonfiction

Genre: Memoir

Summary:

Dr. Ross Slotten chose family medicine to serve patients from cradle to grave. But, as he was entering practice, the AIDS virus was entering the community where his practice was situated, and he found himself serving patients much closer to the grave than the cradle.

In June 1981, a few weeks before I began my internship in family practice at [St. Joseph Hospital in Chicago], the Center for Disease Control in Atlanta had published the first report of a strange lethal infection among a cohort of gay men in Los Angeles. I had no clue then that the disease would soon kill friends, former lovers, colleagues, and patients; devastate tens of millions of people and their families worldwide; and consume my entire professional life and more than half my chronological one. (p.14)

From both the circumstance of time and place he found himself in, and the sense of necessity and compassion that claimed him, Slotten’s professional trajectory unexpectedly shifted away from traditional family medicine towards specializing in AIDS. His interest in AIDS, however, extended to personal considerations, because as a gay man, he was part of the population at risk, and harbored the same anxieties and fears he saw in his patients and throughout his social circles. His patients were principally gay men because of his geographic location in an established gay community and the resulting referral patterns. The book chronicles both his experiences as a physician at Ground Zero taking care of gay men with AIDS, and his experiences as a gay man at risk for AIDS. For Slotten, these experiences were not independent of one another, which makes for rich insights on the complexities of both.

Slotten spent a lot of time at St. Joseph Hospital because his patients required intense medical support and specialized services. He tells how he and his practice partner pushed for establishing a specialized AIDS unit in the hospital. They bumped up against the usual bureaucratic obstacles, plus a few more concerning issues specific to AIDS patients, but they ultimately prevailed. Slotten “was to spend the next fifteen years there, often heartbroken, occasionally inspired” (p. 109). In contrast, Slotten recounts how some specialists he called for help with particular patients would not avail themselves to AIDS patients. Those occurrences stuck with him: “I couldn’t forgive those other physicians for abandoning me and my patients in the hours of our greatest need” (p. 108).

A blending of wanderlust, intellectual curiosity, and an urge to understand “the AIDS epidemic as a public health problem, not just a medical condition” (p. 154), motivated Slotten’s pursuit of formal postgraduate education in public health. He supplemented this education with a trip to Namibia, and reports the observations he made there, among them how “an epidemic like AIDS would be unstoppable” (p. 165), given the factors he saw at work then.

With whatever little time he had left for volunteer and advocacy work, Slotten stayed local. He talks about the volunteer-run health clinics where he worked, and the housing facility he helped set up for homeless people with AIDS. He left protesting at the Food and Drug Administration, the National Institutes of Health, and the annual International AIDS Conference to others while he focused on his patients, his studies, his volunteer work, and his own safety.

The decade of the 2020s is approaching when Slotten writes about the preceding three-and-a-half decades. As he finishes the book he is still caring for people with HIV, but the horrible complications of AIDS are now infrequent since the availability of effective medications. His practice had been reliably stable and predictable for some time, a circumstance he could only dream of when he first started. Alas, that dream had ended by the time the book was released on July 15, 2020, when Covid was surging.

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The Doctor

Icke, Robert

Last Updated: Feb-28-2023

Glass, Guy

Primary Category: Literature / Plays

Genre: Play

Summary:

The Doctor is a new play that was “very freely adapted” from a work by 19th-century Viennese doctor/playwright Arthur Schnitzler. The author, Robert Icke, is an English playwright and director who is especially known for his reworkings of classics.

The doctor to whom the title refers is Ruth Wolff, the renowned and rather formidable director of a private medical institute. We learn that we are in the present day, and Dr Wolff is Jewish. At the play’s outset, the organization is attempting to secure funding for a new building, and a new head of pharmacology is about to be chosen. One of Dr. Wolff’s patients, a 14-year-old girl, is in sepsis following a self-induced abortion. Her health rapidly declines. When it becomes clear the patient is not going to make it, her parents send a Catholic priest to the hospital. Dr. Wolff prevents the priest from entering the room to administer the last rites.

Dr. Wolff’s actions set off a chain of events. Her confrontation with the priest goes viral on social media, resulting in a public relations nightmare for the hospital. In her characteristically uncompromising way, when asked to smooth things over, the doctor responds: “I think the lack of my having done something makes that really quite difficult” (p.31). She is labelled anti-Catholic and her car is painted with a swastika. Her choice for head of pharmacology, also Jewish, is deliberately rejected by the board in favor of a Catholic. The funding for the institute’s new building is suddenly in doubt as a formal inquiry is opened by the Minister for Health. Disgraced, Dr. Wolff is forced to resign.

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The Hours

McDermott, Phelim

Last Updated: Feb-13-2023

Brungardt, Gerard

Primary Category: Performing Arts / Theater

Genre: Theater

Summary:

This annotation is based on a live streamed performance (The Met: Live in HD) presented by the Metropolitan Opera at the Metropolitan Opera House in New York City that ran November-December of 2022. It is based on two novels: The Hours by Michael Cunningham and Virginia Woolf's Mrs. Dalloway.

The Hours follows a day in the life of three women living in three different eras in three different parts of the world. Each woman is wrestling with her own demons, which overlap with those of the others, while simultaneously remaining distinct. Clarissa is a book editor in late 20th century NYC readying for a party she is hosting that evening in honor of Richard, a writer and her former lover who is dying from AIDS. Laura is a housewife and mother in 1940's LA preparing with her son to celebrate her husband's birthday. The final character is Virginia Woolf herself in 1920's London writing her novel Mrs. Dalloway.

In each of these three narratives the central characters suffer depression, despair, loneliness, regrets, unrequited love, and suicidal longings — particularly poignant is the portrayal of each woman's aching despair in trying to discern who she herself is.

As each of the women's stories is told, the full power of the medium of opera is brought to bear. In particular, there are several scenes where two (or even all three) of the characters' stories run concurrently with alternating dialogue (e.g., Woolf voices her novel as she writes it while Laura reads aloud the same passage). Characters walk into each other's scenes. The chorus is used throughout as a kind of human milieu that gives voice to inner thoughts and feelings, even engaging in dialogue with their character. The dialogue, color palette, wardrobe, and musical style are unique and specific to each scene/period/story. Woolf's is a drab color palette and dark music; Laura has bright post-war colors and a popular music style evoking Lawrence Welk or Henry Mancini. Clarissa's world is 90's Americana with hints of Bernstein and Copland in the music.

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