Showing 481 - 490 of 552 annotations tagged with the keyword "Memory"
Traumatized from a small plane accident that killed his parents and sister and injured him, Finn has returned to his grandmother's farm in Vermont where he's always spent happy summers, to regroup and continue his life. His trauma has left him unable to speak.
At the farm he is surrounded by the healing presences of his grandmother, an old summer friend, Julia, and the animals. Between painful flashback memories of the accident, Finn begins to allow himself to enjoy moments, especially in the tolerant and undemanding presence of the girl and the woman who are also grieving, but who find ways to help him reclaim life and the present.
Visiting an old childhood hideaway in nearby pine woods, Finn and Julia run into drug dealers who use the isolated spot for their transactions. Finn finally finds his voice when he is forced to rescue Julia in the midst of a spreading fire from an abandoned well into which she was dropped by a panicked drug dealer who feared exposure.
In short chapters that alternate between remembered scenes of abuse, reflections upon those scenes, and tributes to the natural beauties and human kindnesses that tempered years of domestic violence, the author provides a galling, but not sensationalistic, record of what child abuse looks and feels like. Only when she was older and mostly beyond the reach of a father who routinely beat and sexually abused her and her siblings did the author find out that her father had been dismissed from a police force for gratuitous violence and had subsequently submitted to electroshock treatments for mental illness.
The title describes the nature of the narrative; in its deliberate discontinuities it testifies to the stated fact that there are places where memory has left a blank. Much of the telling is an attempt to piece together a story of recurrent violence, felt danger, and arbitrary rage that seemed at the time both regular and unpredictable.
The sanity of the narrative testifies to the possibility of healing. The writer makes no large claims for final or complete release from the effects of trauma, but does strongly testify to the possibility of a loving, happy, functional adult life as healing continues.
The story is a letter written by a 24-year-old woman to her niece who was given up for adoption. Bitte Liten, from a close Norwegian family, remembers the summer she was 12 when she was sent away during the last months of her sister's pregnancy to stay with her uncle. Her sister, 15, unwed and pregnant, had found adoptive parents for the child, but Bitte, imagining the pleasures of being an aunt and helping care for a baby, wanted her to keep it.
While at her uncle's, she visits her aging favorite aunt in a nursing home. Her aunt, sinking into dementia, doesn't remember her. This leaves her reflecting on how much of life is memory of the past and dreams of the future. Her period comes that summer for the first time, and with it, a new understanding of adult responsibilities and her sister's predicament.
She writes her sister to tell her she understands her decision and will support her. In return, her sister invites her to be at the hospital the day the baby is born. There Bitte meets the adoptive parents as well as the baby, says hello and goodbye to her little niece, and comes to understand something new and harder about what love looks like. Twelve years later, she records all these memories for the niece who has grown up as someone else's child.
In 1898 in rural New South Wales, a brother and two sisters are found bludgeoned to death under very peculiar circumstances. The crime creates a sensation throughout Australia, but the mystery is never solved. Nearly 60 years later, one of the last surviving members of the family (12 brothers and sisters) tells the story and, in the process of doing so, reveals the truth of what really happened to his siblings on that tragic day.
When six fifty-year-old women gather for an annual reunion they've come laughingly to call "Camp Men-o-pause,” at an idyllic midwestern lakeside bed-and-breakfast they face a bewildering and sorrowful difficulty unprecedented in their many years of friendship since college: Micky, in many ways a leader and intellectual bright light among them, has been diagnosed with early Alzheimer's disease. She is present and functioning, but has bouts of confusion and memory loss.
She knows a great deal about her own condition and has shared it with the others. Only with one other, Jan, has she shared her desire to be helped to commit suicide when she becomes seriously incompetent, and, enjoined to secrecy, Jan has to bear the burden alone of deciding whether to make Micky that promise.
The story chronicles the week the women spend together, their various thoughts and conversations about their lives, and the ways in which Micky's disease leads them all to reframe their feelings about friendship, loyalty, aging, and medical options. Much about the week is bittersweet; the story ends inconclusively as Jan is unwilling to promise to help Micky die, but all come to some sobering understandings about what it might mean to "see their friend through” a gradual leavetaking that may erase them all from her memory.
Leandra lives alone in the backwoods of North Carolina where she makes a small but sufficient living repairing antique dolls for a dealer who sells them to collectors. The broken and ragged dolls occupy an old "mourner's bench" in her one-room cabin. For ten years she has lived in relative contentment, though she carries the pain of a trip to Boston when her sister bore a defective child who died.
The sister committed suicide soon thereafter. During that visit, as Leandra's sister withdrew into late-pregnancy depression and hostility, Leandra and Wim took comfort in one another's presence and finally fell in love. But after the suicide, Leandra returns to North Carolina with no intention of ever seeing Wim again.
Now, ten years later, he shows up on her doorstep, wanting to spend the final months of his life with her; he has inoperable brain cancer. He knows what course it is likely to take. He wants only to see her, but she insists that if he is to reenter her life, she wants to see him through all of it, even the worst parts.
They weather and cherish the days with gentle humor, frankness, careful sharing of memory, and the deepest love either has ever experienced. Leandra's neighbor, a friend from childhood, helps Wim build an extension onto Leandra's little cabin, one of several ways he finds to "provide for her" as he wishes he could have earlier.
In my dreams, now, in my re-imaginings, I leap away as easily as a deer, and with as little hesitation. My spandex-covered legs scissor the ditch, and my feet ride the ground instinctively. My brown hair sways as I dart off into the forest . . . In real life, I got into the truck. (p.25)
A young woman retells the story of her rape--to herself, to the reader, and to a therapist who possesses "no startling answers--just a quiet ability to receive and transmute pain." The art of transcending pain through communication is at the heart of this story. The narrator survives by talking to her rapist and challenging his human core, by revealing everything to caregivers, by allowing herself to replay and dissect the details of this trauma.
This book includes 28 short stories and 10 vignettes written during the period 1881 through 1887 and published in popular Moscow and St. Petersburg magazines. None were included in the Collected Works published during Chekhov's lifetime, nor in the multiple volume Tales of Chekhov translated into English by Constance Garnett early in the 20th century. Nine of these stories appeared as a set called Intrigues: Nine Stories by Anton Chekhov in The Atlantic Monthly in 1998 (see annotation in this database).
A number of these stories involve medical or health related situations. "Village Doctors" (1882) is a comic tale of two physician's assistants blundering their way through a morning clinic, while the doctor is out hunting with the district police officer. "A Hypnotic Séance" (1883) reveals a hypnotist who, in desperation, pays his subject to simulate a trance and save the show. "At the Pharmacy" (1885) sketches a scene that many readers will recognize, a rigid and unfeeling health care provider (in this case a pharmacist) and a desperate patient. "Intrigues" (1887) presents a puffed-up and paranoid physician who is about to attend an inquiry regarding a medical mistake that he has made.
Nick and Fran move into an old house with their family: Miranda, thirteen, Nick's daughter from a previous marriage (her mother has been hospitalized with depression); eleven-year-old Gareth, Fran's son (who was almost aborted); and a toddler, Jasper, the child of both. Fran is pregnant again. Nick tries to hold them together as a family, but must also take care of Geordie, his grandfather, who is dying of cancer at the age of 101.
Geordie believes that what's killing him is a bayonet wound he received in World War I. As his disease progresses, the old man relives the war, especially the battle in which his brother died, with increasing vividness. After Geordie's death, Nick learns that in the battle he had killed his wounded brother who may, he thinks, otherwise have survived.
Geordie tells the story in an interview with a historian working on memory and war, and confesses that he hated his brother. She gently tells him that "a child's hatred" is different, but he--like the novel itself--refuses to see this as mitigation. Geordie's tale resonates both with what Nick learns about the house he bought--in 1904 the older children of the family living there were believed to have murdered their two-year-old sibling--and with Gareth and Miranda's resentment of Jasper, which has near-fatal consequences.
Amy (Mira Sorvino), a New York City architect, takes a needed break at a mountain spa where she falls in love with her blind masseur, Virgil (Val Kilmer). He has congenital cataracts and retinitis pigmentosa. His older sister Jenny (Kelly McGillis) has looked after him for twenty years since their father left and their mother died. She is jealous of Amy’s place in Virgil’s life, and he is angered when Amy contacts a specialist hoping to help him see again.
At first, he resents the implication that his blindness is a problem. But he decides to leave with Amy for New York, where his cataracts are removed. When the bandages are removed he is terrified by the confusing sights that his brain cannot recognize (visual agnosia).
Virgil’s slow adjustment to vision is an exciting challenge, but it drives a wedge between him and Amy. When the retinal disease returns and he begins to go blind again, he leaves her and sets out on his own finding work at a school for blind children. The film ends with a promising moment as Amy and Virgil encounter each other in Central Park.