Showing 1761 - 1770 of 3444 annotations

Balancing Acts

Schwartz, Lynne Sharon

Last Updated: Aug-15-2006
Annotated by:
McEntyre, Marilyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Max, who has lost his wife after a long life and career together as circus acrobats, reluctantly retires to an assisted living home. There he finds unexpected friendship first in his neighbor, Lettie, a widow who has a gift for uncomplicated kindness, and Alison, a thirteen-year-old he meets when he gives juggling and stunt lessons at the local junior high. The unhealed ache of his wife's slow death from cancer makes Max skittish about opening his heart to either of them, though Lettie offers him patient companionship and Alison, full of adolescent restlessness, unfocused intelligence, and need, desperately wants something of the grandfatherly good humor and wit she finds in Max.

Alison's mother is pregnant with a long-delayed second child and the distance she feels from her parents drive her to lengthy novel-writing and to rather pushy efforts to make Max her special friend. For him, she learns to juggle. She cuts class to visit him, and to go out for sodas with Lettie. Alienated from peers she finds silly, the old people touch a place in her that needs love. After a heart attack, Max comes home with newly raised defenses, and retreats from the budding friendship with both women.

But when Alison runs away to a circus he refused to attend with her, and then to Penn Station, Max goes with her parents and finds her on a hunch. Found, she clings to him like a small child, and he finds himself full of a long-resisted love. On the way home, however, he succumbs to a heart attack. In the final chapter, Lettie helps Alison begin the long, difficult process of accepting mortality, grief, and the possibility of eventual healing from a loss of a kind she finds herself still unable fully to articulate to anyone she believes will understand.

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Adam

Vonnegut, Jr., Kurt

Last Updated: Aug-10-2006
Annotated by:
Willms, Janice

Primary Category: Literature / Fiction

Genre: Short Story

Summary:

An expectant father waits to learn the outcome of his wife’s labor and delivery. In his brief exchanges with another father-to-be the reader is apprised of Mr. Knechtmann’s history. He and his wife are holocaust survivors; their only prior child died in a displaced-person’s camp in Germany--and there is no one to carry on the proud family name if this infant is not healthy. A bored nurse comes to inform Heinz that he has a son and everyone is well.

The ecstatic father seeks someone to share in his joy. The folks in the bar across the street could care less; the delivering physician just wants to go to sleep; the other father now has seven daughters and can’t get too excited about someone else’s son. Even a fellow worker whom Heinz meets on the street is politely unimpressed. Only when he can finally visit with the baby’s mother can he find a partner in joy. She says, "It’s the most wonderful thing that ever happened, isn’t it?"

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Annotated by:
Woodcock, John

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

((Note: This film has a surprise ending that will be discussed below.) Tenoch (Diego Luna) and Julio (Gael Garcia Bernal) are friends, two sex-obsessed 17-year-olds boys who flirt with the beautiful and somewhat older (and married) Luisa (Maribel Verdú), at a wedding and invite her to drive with them to an imaginary beach. She pays little attention, but after discovering that her husband has cheated on her again, she decides to flee her crumbling and childless marriage and calls the boys to see if the invitation is still good. The boys quickly make real plans and all three take off to a remote destination.

There is a lot of driving, and the three talk a lot about sex, and then have it. When things threaten to blow apart because of jealousy between the immature boys, Luisa steps in aggressively to take control of the road trip to make it continue to work for her. After she imposes her rules, there are some fine moments of peace at the beach, with Luisa enjoying the natural beauty of the waterfront and also a more mature relationship with the boys. She even attempts a tender if unhappy telephone farewell with her unfaithful husband.

At the beach, Luisa becomes close to a local fisherman, his wife, and their young child, and when the boys have to get back, Luisa announces she is staying at the beach with the fisherman's family. A month later the boys hear that she has died from cancer. A voice-over tells us that the boys will eventually split up with their girlfriends and never see each other again. Luisa's achievement is what remains.

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Doctor Zhivago

Pasternak, Boris

Last Updated: Aug-09-2006

Primary Category: Literature / Fiction

Genre: Novel

Summary:

This complex novel is difficult to summarize. The main characters are introduced separately. We meet Yurii Andreievich Zhivago (Yura) when he is ten, at his mother’s funeral. He goes on to study medicine, write poetry, and marry a young woman named Tonya. We first encounter Larisa Foedorovna (Lara) as the adolescent daughter of a widow who has been set up in a dressmaking business by Komarovsky. Komarovsky later harasses and seduces the young woman. In her anger and guilt, the impulsive Lara tries to shoot Komarovsky at a grand Christmas party, but she misses and inadvertently wounds another man. Subsequently, Lara marries Pavel Pavlovich (Pasha), her childhood sweetheart.

All this takes place against the background of social upheaval in pre-World War I Russia. When the war begins, Yura joins the Army medical corps. Pasha leaves Lara and their daughter Tanya to enlist in the army. When Pasha is reported lost behind enemy lines, Lara becomes a military nurse in order to search for him. Thus, Lara and Yura meet at a hospital where his wife Tonya has just delivered a baby boy. Lara and Yura feel attracted to one another, but neither one expresses it. At this point the Revolution breaks out in Petersburg.

As the fighting rages, Lara and Yura are posted to a hospital in a small town, where Yura struggles with his feelings. When he reports his friendship with Lara, Tonya assumes incorrectly that they have become lovers. Over the winter there are food shortages and the threat of a typhus epidemic. As the war ends, Yura returns home to Moscow, and to his old job at the hospital, but his co-workers are suspicious of him. Influenced by Bolshevism, they dislike his use of intuition instead of logic. The family resolves to travel to the Urals. Amidst Marxist rebellions, Yura's family finds room in a cargo train. During the long train ride, Yura reflects on the suffering of peasants and prisoners caused by the revolution. He shares the desire for equality and freedom, but is disenchanted by the revolutionaries' pedantic, insensitive opinions.

The family safely arrives in the Urals and set up a farm. During the long winters, Yura returns to writing poetry. While visiting the local library, he re-encounters Lara. They begin an affair, sharing a common joy in a fully-lived existence. Lara is aware that her husband is still alive, having become a feared member of the Red faction under another name (Strelnikov). Yura resolves to tell his wife about his unfaithfulness and to ask forgiveness, but as he rides home, he is kidnapped by a faction in the Civil War (the Reds) and forced to serve as their doctor.

After some years, Yura escapes from the Reds and walks back to find Lara, who still lives in the same place.  To escape being informed upon, Lara and Yura flee to the farm house where Yura and his family once lived. Again, Yura turns to his poetry, expressing his fears, courage, and love for Lara. He learns that Tonya and a new baby daughter have been deported from Russia. One night, Lara's old lover, Komarovsky, appears and tells them that the triumphant revolutionaries know where they are and will inevitably kill them both. He offers to take them abroad, where Yura could rejoin his family. Yura refuses to accept help from Komarovsky. To save Lara's life, though, he tells her that he will follow them out of the country, but actually remains behind. Alone, he turns to drink.

One night Lara's husband, Strelnikov (Pasha), who is fleeing the new government, arrives. When he learns of Yura and Lara’s love, he leaves the house and shoots himself. Yura then goes to Moscow where he strikes up an affair with Marina and becomes a writer of literary booklets.  His brother finds him a job at a hospital, but on his way to his first day at work, he dies, presumably of a heart attack. Lara, who had been living in Irkutsk, has returned to Moscow and wanders accidentally into the house where his body lies waiting for burial. After several days, Lara disappears, presumably captured and sent to a concentration camp.

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Mercy

Selzer, Richard

Last Updated: Aug-08-2006
Annotated by:
Coulehan, Jack

Primary Category: Literature / Fiction

Genre: Short Story

Summary:

A man dying of pancreatic cancer has reached the point where the pain is no longer controlled by morphine. In the hospital he begs for death. The surgeon tells his wife, "To give him any more would kill him." "Then do it," she says.

He returns with three syringes of morphine and finally injects them, but the man will not die. How easy it would be to suffocate him! But the surgeon rejects this thought and leaves the room, having failed to provide euthanasia.

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Annotated by:
Woodcock, John

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Warren Schmidt, played by Jack Nicholson, is a middle level officer in an Omaha insurance company who faces retirement and, shortly afterward, the sudden death of his wife of 42 years. He struggles with emotional chaos and mental confusion and with the nagging thought that his life is over and that he has failed to make the world better in any way.

An additional complication is that his only child, Jeannie (Hope Davis), is planning to marry a man (Randall, played by Dermott Mulroney) Schmidt strongly feels is below her. He tries several times to prevent the marriage but fails at that, too. Returning home from the wedding in despair, Schmidt finds a piece of mail with a drawing made by a young boy in Tanzania he had begun to support just after he retired, and the final scene shows him deeply moved.

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Absence of Mercy

Stone, Robert

Last Updated: Aug-01-2006
Annotated by:
Aull, Felice

Primary Category: Literature / Fiction

Genre: Short Story

Summary:

Mackay’s story begins in the 1940s when, at age 5, he was sent to a "boarding school" run by the Catholic order of the Pauline Brothers. Mackay’s mother had herself been institutionalized for paranoid schizophrenia and his father was not in the picture. In the school Mackay was exposed to pervasive violence: "intramural" violence wherein the stronger children taunted and beat up the weaker ones; classroom violence in which the instructors slapped or beat with a razor strop those boys they deemed to be errant in any respect; organized boxing matches; and, most feared, "statutory evening punishment" where students had been selected out by a Brother to be humiliated and beaten after the evening meal and prayers. The latter violence was characterized by "the absence of mercy" and a sadistic ritualism that induced "sick-making terror" in its victims.

We follow Mackay through additional episodes of violence as he progresses through delinquent adolescence--now living in a welfare hotel with his mother--through a stint in the Navy, marriage and fatherhood, and, finally, to an episode in the New York City subway that is the crisis point of the story. In the Navy he is once again victimized by a drill instructor who humiliates Mackay into losing the "instinctive cringe" he had developed during his years at the institution.

Mackay reads in the newspaper that an old buddy--"they had suffered shame and pain together that could never be explained to anyone (38)"--has been murdered in the subway while coming to a woman’s aid. Mackay is terribly troubled by this incident, not only because of the earlier close relationship, but also because he finds himself intrigued by the story. A year later, Mackay is in a similar situation--in his presence, a well dressed but deranged man is threatening a woman in a subway station.

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Portrait of Dr. Gachet

Van Gogh, Vincent

Last Updated: Jul-28-2006
Annotated by:
Bertman, Sandra

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

Dr. Gachet looks beyond the viewer with melancholy gaze. His eyes, drooped with sadness, appear to search resignedly for something in the distance; his skin tone is sallow. He rests his head on one hand, while the other hand rests precariously on the table beside him. Lines of color swim around and through the doctor--a technique distinctive to Van Gogh--all of which are directed almost uniformly towards the top left corner of the painting. Amidst this hubbub of color and energy, the Doctor rests impassively in what seems a commentary on his mental health.

Upon the red table rest two books and a vase of flowers. The books are titled Germinie Lacerteux (1864) and Manette Salomon (1867-68) and were written by two brothers who worked in close collaboration, Edmond and Jules de Goncourt. According to M. Therese Southgate, the books may thus represent the close relationship between Vincent van Gogh and his brother, Theo, which Southgate calls "symbiotic, and eventually tragic" (Theo became insane after Vincent's death and died six months later). (See page 207 of alternate source.) The vase contains flowers of foxglove, from which the heart medication digitalis is derived. The flowers, therefore, may represent the physician aspect of Dr. Gachet.

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Annotated by:
Bertman, Sandra

Summary:

Dr. Gachet's head and upper body face the viewer and fill the picture. The background of an outdoor yard and fence, visible above and to the left of the doctor, is sketchily rendered so as not to interfere with the foreground image of Dr. Gachet. Van Gogh does not center Gachet but instead cuts him off on his left-hand side. This positioning contrasts with typical portraits of the era, where aristocrats are often centered and beautified, and in this way suggests the humility of Dr. Gachet.

Van Gogh does not depict his doctor as a force larger than life; to the contrary, the doctor is rendered as a line sketch and colorless. His hands are knobby and without definition, his body and appendages are squiggly lines that seem to blend into his clothing and pipe. His hair is receding and his brow is creased with lines of concern.

Van Gogh focuses on the doctor's humanity rather than on his medical skill. Gachet does not appear in medicinal environs or with any of the tools of his trade. Instead, Gachet clutches only a pipe and looks deeply towards the viewer with eyes of raw concern. The attention to detail given to the eyes suggests that Van Gogh views his doctor's humanism and empathy as his defining qualities; tellingly, Dr. Gachet has only his title to indicate his training.

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Annotated by:
Henderson, Schuyler

Primary Category: Literature / Poetry

Genre: Poem

Summary:

Published in 1734, this poem of 7-syllable couplets describes how Peter goes to visit his college friend Cassinus. He finds Cassinus filthy and miserable in his dorm room and asks his friend why he is such a mess. Cassinus replies that he is in this state because of Celia. Peter wonders if Celia has died; if she has cheated on Cassinus; if she has been struck down by some disfiguring disease; or, ultimately, if there is something terribly wrong with Cassinus. No, replies Cassinus, to each of these in turn. He makes Peter promise not to divulge the terrible secret he has discovered about his once beloved Celia, and then tells him: "Nor wonder how I lost my wits; / Oh! Celia, Celia, Celia shits."

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