Summary:

The Stone Diaries recount the life of Daisy Goodwill (1905-199? [sic]). "[W]ife, mother, citizen of our century," her son closes the benediction of her memorial service. Yet Daisy is also the orphaned daughter of an orphan--her dramatic birth a turning point for her father, the neighbours--and a social outcast. Daisy becomes a happy child, a lifelong friend, a college graduate, a consummate gardener, a cultivator of stories, a pragmatist, a romantic, a widow twice (once scandalously, once more ordinarily) . . . . In short, the diaries of "Day's Eye" bear witness to the extraordinary lives of seemingly ordinary "citizens."

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A very sad, discerning, funny novel about the final day in the life of smart, impatient, fiercely independent, cantankerous, what-you-see-is-what-you-get, imaginative, eighty-eight year old Ruth Caster Hubble. Now living a life full of routinized quirks (sleeping in a sleeping bag on top of her bed so she won’t have to make it) with her second husband Henry--"King of the Boobs," Ruth leads readers through the dailiness of a life shaped by memory, family connections, and a failing body.

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Here is an account of a few years in the life of Quoyle, born in Brooklyn and raised in a shuffle of dreary upstate towns, where the novel begins. In these few years Quoyle metamorphoses from the human equivalent of a Flemish flake--a one layer spiral coil of rope that may be walked on if necessary--to a multi-layered presence with the capacity for constantly renewed purpose and connection. Grief, love, work, friendship, family, necessity, and community effect this transformation, as does Quoyle’s ancestral home of Newfoundland, a place of beauty and hardship, of memory and reverie.

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This is a lovely poem about an elderly married couple who share a room at a nursing home. The woman is confined to bed because her backbone is "so thin / the doctor jokes that X-rays can't find it." Her husband's mind is gone. The woman reflects on the morning activities, especially those of the "night girl" who brings the breakfast trays and, later, bends down to take her husband's tray, "the perfume / still lingering from whatever went on / before last night's shift." The woman asks herself: How would this young girl of 20 know that the two elderly people she is caring for once "made love / in the sweetfern high on an island."

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In this reflective memoir, a son in his mid-forties recalls the final years of his mother's life, the mystery of her changed being as she succumbed to Alzheimer's disease, and the long weeks and months he spent as caretaker, confronting the mystery of his own life and the role of memory in it by witnessing at close range the closing down of both life and memory in her. The book is candid about the whole range of feelings--including the most unexpected and unwelcome--associated with the difficult decision to bring an aging and infirm parent into one's household, care for her, reconfigure family life, and consent to the disconcerting inversion of parent-child roles.

Each of its forty short chapters is a lyrical moment. Daniel weaves memories of his mother's life--musing about those parts he can only know second hand--and exquisite portraiture, with ongoing reflection about his purposes in writing; what gifts there may have been in the difficult process of seeing her through a difficult passage into death; and how some of those gifts unfold only in the aftermath. His speculations about the inner life of an Alzheimer's patient add nothing to medical understanding, but model a deeply edifying kind of compassion and will to imagine beyond the failures of mind and body to a silent, inarticulate self that still deserves to be honored.

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Tomorrow, as soon as it dawns, I will go to visit your grave, Papa, Adriana, in the long abandoned family home, reflects on her life before her father’s death when she was fifteen. She remembers their closeness and similarities, but also their distance and differences. Wedded by their physical resemblance, temperament and interests, they are also separated--by silence and sorrow, desires and disillusionments.

One night the adolescent tries to discuss her father’s torment, but both become angry. It is their last conversation. In the hours that follow, her beloved father takes his life with a single bullet.

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This is a film story in which non-professional actors play themselves. It concerns six old women and their bus driver, a middle-aged woman (Michelle Sweeney), who, when their bus breaks down, are stranded in an isolated countryside. In the two days that follow, they find shelter in an abandoned and derelict house, conspire to find food, and learn about each other and themselves through personal disclosure and storytelling.

Before meeting any of the women, the audience hears their child-like chatter and laughter as they emerge from a deep fog cover into the sunshine. Clearly the women are old, but viewers soon regard them as sisters at recess giggling at the novelty of their unexpected adventure, happy to be in good company. When they reach a dilapidated and deserted house, it offers no amenities: no beds, no electricity, no water, no food. Each woman approaches the situation in a different way, but there is a buoyancy and resourcefulness about them in spite of some possible apprehensions concerning rescue and survival.

Any notion that this is a group of interchangeable old women is quickly dispelled. Separate stories unfold against spectacular scenery and humble shelter, as they try to fix the bus, catch fish with pantyhose, hunt for frogs, collect hay for mattresses, paint, laugh, sing, and sigh. In contrast to the current portrait, additional glimpses of the women are provided by superimposed photographic montages or snapshots of each character when she was younger.

One woman (Mary Meigs) is a lesbian, another a nun, another a survivor of stroke. Some are braver than others, and some have moments in their past that, when alluded to, are profoundly moving. One, we believe, is especially vulnerable and ready to die. Another, Cissy (Cissy Meddings), makes us laugh out loud; stooped and stroke-addled, she is full of life and silliness, while enduring the quiet pain of a partially explained isolation from her son and grandchildren, only the facial expression and eyes letting on. Catherine (Catherine Roche) the nun, who will make the long walk for eventual rescue, brings a serenity to the group, while a good-natured and extremely resourceful Mohawk elder (Alice Diabo) demonstrates both strength in the face of adversity and unhappiness in recollections of her marriage.

Their outer bodies belie the inner sense of being. Except for one woman who wears a wig to cover her thinning hair, none of the characters are concerned about their appearances. We may see them as old, but their actions and spirit suggest playfulness, creative energy, and wisdom. Their options may be gone or diminished, but they think of themselves as ongoing persons with much more to say and do.

Except to say that the women survive the ordeal, there are no resounding triumphs. Viewers, possibly the strangers referenced in the film’s title, gather with the good company of old women to learn about life and themselves, especially the vitality and worth of persons frequently isolated from mainstream society. For a brief time, a new society gathers and sifts experience for mutual benefit. We know about the darkness to follow and wonder what their lives will be when they are found, when this moment has passed.

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Harriet White is an active, energetic 82 year old resident of the Lutheran Home. We follow her through a winter day: a birthday party for a staff member, the funeral of another resident, a visit from her son, and her daily visit to see her husband who had a severe stroke and lies, uncommunicative, in the hospital ward. Mrs. White's son asks her, as he has before, to come and live with him and his family. He also reveals that he has sold the family farm. She is devastated that he had not discussed it with her, but she puts up a good front, saying it was the only sensible thing to do.

Later, she decides to walk several miles to visit the old farm. She does so, and in the evening a search party from the Lutheran Home find her there. As they drive her back, she realizes that her status has changed: she is no longer a stalwart helper, but has turned into a difficult old woman who is liable to wonder away.

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Tod Friendly awakens from death, rejuvenates, and becomes a surgeon. In New York he becomes John Young. He travels to Lisbon and a privileged existence as Hamilton de Souza. He leaves Lisbon for Salerno, then Rome. As Odilo Unverdorben he travels north to Auschwitz Central where he resumes his surgical career and conducts research. Through this time he has a series of affairs until he joins his wife. Their daughter dies, they marry, then court. Odilo works as a doctor, then attends medical school. He joins a youth organization and lives with Father and Mother. Finally, he enters Mother.

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Virginia (Olivia de Havilland) marries Robert (Mark Stevens), but she soon becomes profoundly disturbed and her caring husband sends her to a psychiatric hospital. Using Freudian techniques combined with physical modalities of electroshock and isolation, her psychiatrist (Leo Genn) leads her to overcome her amnesia and to understand that her illness is the result of unresolved yet misplaced feelings of guilt over a boyfriend and her father. Just before Virginia is happily restored to Robert, the asylum patients are gathered together at a hospital party where they sing of their yearning for home.

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