Showing 281 - 290 of 306 annotations tagged with the keyword "Poverty"
Summary:An older pregnant woman hesitantly knocks on a closed door. Everything in her pose suggests fatigue and a kind of dignified resignation. Her head is bowed in the direction of her pregnant belly. Perhaps this is one of many pregnancies in this working-class woman's life. The title of the drawing tells the story: she has come to the doctor for a pre-natal visit.
This is the third volume of poetry by Bamforth, a physician and scientific translator who practices in Strasbourg, France. Open Workings is precisely that--the poet opens various ideas, places, and events and shows us their inner workings. But we find that the workings are not what we expect.
Some of these poems (e.g. "Between the Rhins and the Machars," pp. 20-23) evoke Scottish folk tales and traditions. "The Fever Hospital" (p. 33) alludes to William Carlos Williams's famous poem "Spring and All," which begins, "By the road to the contagious hospital . . . " Several are set in a mining town in the Australian outback. In "A Clear Thought" (p. 39) Bamforth recalls the "scorched mesas / and camel-track droppings / of overland Australia" where he and his wife, "two transients, / (we) were crossing a language / bigger than its markers." The long sequence (30 poems) called "Doing Calls on the Old Portpatrick Road" provides a richly textured view of the life and interactions of a country doctor, one of whose patients asks, "Why do you call it failure now my heart breaks?" (p. 64)
The Changes is set in the deep South during the depression. A fifteen year old girl, whose main ambition is to finish school and go to college, witnesses her mother’s intentional starvation. The family attributes their mother’s irrational behavior to menopause, believing that all women going through "the change" become crazy.
The young daughter not only fears that her mother’s insanity is hereditary, but also that it may be partly her fault. The reader suspects that the mother may have intended to die in order that her daughter could afford to go school. The family seems to feel that the daughter’s presence in the household somehow drove her mother to insanity.
This first published work of fiction by Gertrude Stein includes two stories, "The Good Anna" (71 pp.) and "The Gentle Lena" (40 pp.); and a novella, "Melanctha" (151 pp.) Each one is a psychological portrait of the named protagonist. All three are members of the lower socioeconomic stratum of the fictional town of Bridgepoint.
"The Good Anna" tells the story of a German immigrant who kept house for Miss Mathilda. Anna was honest, steadfast, and loyal as the day is long, but she was also stern and difficult to deal with. Anna's special friend was Mrs. Lehntman, the romance of her life. After Miss Mathilda moved to a far country, Anna took in boarders for a living, didn't make much money, and after a while died. "The Gentle Lena" is the story of another German servant girl who married unhappily and died shortly after the birth of her fourth child.
"Melanctha" is an extended portrait of Melanctha Herbert, a mulatto woman, and her unhappy love affair with Dr. Jeff Campbell, the doctor who took care of Melanctha's mother during her final illness. Much of the novella consists of protracted conversations between Melanctha and Jeff and extensive descriptions of their respective mental states.
Eventually the two lovers drifted apart. Melanctha took up with Jem Richards, "who always had to know what it was to have true wisdom." But that relationship didn't work out either. Melanctha became depressed and considered suicide. After she recovered from depression, she developed consumption and died.
Blind dolls' dressmaker Bertha Plummer is the center of a significant subplot to this story of marriage and deception. Bertha and her toymaker father, Caleb, live in squalor in a "little cracked nutshell" house and work for hardhearted Tackleton. Caleb has convinced Bertha that their cottage and their employer are both charming. She falls in love with Tackleton and is traumatized by his engagement to another.
Caleb's confession of his well-meaning deceit compounds her suffering. Bertha's literal blindness parallels the figurative blindness in the main plot, in which Dot Peerybingle's innocent secrets make her husband John suspect she loves another. The story ends in reconciliation and happiness all around; Bertha plays the harp while the others dance.
In the fall of 1907, Will and Eleanor Lightbody, a wealthy, neurotic couple from Peterskill, New York travel to Battle Creek, Michigan to immerse themselves in the routine of the famous sanitarium run by corn-flake inventor, Dr. John Harvey Kellogg. They meet Charlie Ossining who is seeking his fortune in the fickle market of Battle Creek's breakfast food industry. The Lightbodys have just lost their infant daughter and Eleanor is taking Will to the "san" for the cure. An inveterate meat-eater with a sexual appetite, Will was addicted, first to alcohol, and then, to opium, after his wife spiked his coffee with an off-the-shelf-remedy for drink.
At the sanitarium, they must occupy separate rooms, refrain from sex, and piously eat inflexible non-meat diets. Therapies include five daily enemas, exercises, "radiated" water, and an electrical "sinusoidal bath," which accidentally fries one of the residents. Kellogg is gravely disappointed in Will's inability to toe the "physiologic" line, but he is more deeply disturbed by his adopted son, George, whose chosen life on the street is a perpetual embarrassment.
Worried about his sexual prowess and deprived of his wife, Will becomes obsessed with his beautiful nurse and opts for the stimulation of an electrical belt; equally frustrated and bent on self-starvation, his wife turns to the quack "Dr Spitzvogel" who specializes in nudism and "manipulation of the womb." Brought to their senses by humiliation, Will and Eleanor go home.
Meanwhile, Charlie has joined with George Kellogg and borrowed from Will to keep his business afloat, but he realizes that he has been swindled. He only narrowly escapes jail, during a fiery commotion created by George who is then murdered by his adoptive father.
This is Krysl's fifth book of poetry, and the second to be published by the National League for Nursing Press. The collection is divided into seven sections: Self Healer; Self and Nature; All My Relations; Healers; Calcutta; Sanctuary; and Death, Life. The sections, and, in fact, many of the poems, are preceded by brief introductory explanatory remarks.
Krysl states that "this book records many moments of healing in widely varying circumstances." These moments, for her, include a summer volunteering in the Kalighat Home for the Destitute and Dying, administered by Mother Teresa's Sisters of Charity, and time spent with curanderas, Navajo healers, and "western" alternative healers. A sampling of poems from a number of the sections included in this collection are "Cancer Floor," "Curandera," "Innanna," and "Interpreter."
Summary:This five-line poem poses a direct question of distributive justice to a mother faced with scarce resources. "Indian Poem" asks the mother to decide how she will divide what little she has among her children. She must choose between her strong son who has no immediate need, her weak son who is bound to die soon , and her daughter, "who is a girl anyway." The poem presents an imperative choice, but acknowledges that in choosing, the mother will also suffer along with her children.
It is the voice of the woman in bed that makes this poem, and she is a tough character as she reveals herself, physically and otherwise. "I won’t work / and I’ve got no cash. / What are you going to do/about it?" she demands in the first few lines. She implies that she is a loose woman and perhaps even comes on to the physician: "Lift the covers / if you want me . . . ." and later, "Corsets / can go to the devil-- / and drawers along with them-- / What do I care!"
The woman shifts subjects rapidly, between poverty and sexuality, hinting that she might be pregnant again, writing off her two sons. At the end, she delivers a proud challenge to the physician who has come to see her in the abandoned house: "Try to help me / if you want trouble / or leave me alone-- / that ends trouble. // The county physician / is a damned fool / and you / can go to hell! // You could have closed the door / when you came in; / do it when you go out. / I’m tired."
This docudrama traces the life and work of Maine midwife, Martha Ballard (Kaiulani Lee), through the account of her own diary from 1785 to 1812. She and her surveyor husband, Ephraim (Ron Tough), moved from Massachusetts to the frontier of Maine during the Revolution; the rapid social changes in their new republic are felt at the domestic level. Ballard cared for many sick people, more than a thousand women in labour, and their infant children. She also becomes a witness for a woman who was raped by a judge.
A local doctor makes a brief appearance as a bungling meddler; other doctors perform an autopsy of her own deceased niece, which the midwife attends; but most often Ballard works alone. Her five surviving children leave home, and she comes to relate the experiences of her patients to those of her own life.
Her husband shares the slow decline into age surrounded by the frictions of proximity with an uncaring son and his months in debtors' prison. The recreation is interspersed with interviews and voice-over with historian and author, Laurel Ulrich. Ulrich describes her discovery and fascination with the Ballard diary, the difficulties in interpretation, and the still unanswered questions.