Showing 831 - 840 of 1020 annotations tagged with the keyword "Love"
Harry Potter and the Prisoner of Azkaban is the third of a planned series of seven books (see annotation of Harry Potter and the Sorcerer's Stone for an introductory summary). Harry, forced to suffer another summer with the Dursleys, has just turned thirteen. When Uncle Vernon's sister arrives and proceeds to abuse Harry, he rebels, runs away with his heavy school trunk and is picked up by the Knight Bus, a wizard transportation vehicle. Meanwhile, the nine-member Weasley family, usually short of money, have won a wizard lottery and are using the money to visit the eldest son, Bill, in Egypt.
Sirius Black, whose motorcycle was featured in the first chapter of the first book, has escaped Azkaban and the prison guards known as Dementors. Sirius was imprisoned just after the death of Harry's parents when he was caught at the scene of another horrendous crime. Special precautions for Harry's safety are arranged by Dumbledore and the Ministry of Magic, led by Cornelius Fudge. When Harry meets a Dementor on the train to Hogwarts, he blacks out as he feels a rush of coldness, a complete lack of happiness or future, and relives his worst memories. Remus Lupin, the mysterious, gentle and periodically ill Defense of the Dark Arts Professor, provides the antidote: chocolate.
Thus begins Harry's third year at Hogwarts. Hermione signs up for an especially busy, seemingly impossible, schedule of classes. Ron's old pet rat, Scabbers, takes a turn for the worse, despite Ron's attention and care. The invisibility cloak again proves useful, as does a magical map. Hagrid, cleared of the cloud that had been hanging over him since his school days, is promoted to teacher: Care of Magical Creatures. However, an injury to Draco Malfoy by Buckbeak the hippogriff (a flying bird-horse) during the first class leads to another investigation.
Bizarre characters, such as the doom-predicting Divination teacher, Sibyll Trelawney, exciting Quidditch matches with a new broomstick for Harry, more run-ins with Snape, and a peek at Hogsmeade, an all magic village, round out the story. Ron, Hermione, and Harry's dangerous adventure leads to the exposure of Sirius Black, the truth of his connection to Harry's parents, and new discoveries for Harry about his father. Our heroes also discover who is the servant to Voldemort, the Dark Lord.
In this collection of new poems Goedicke presents us with a stark, frequently harsh, and uncompromising perspective on the relentless march of love and life toward death. Nature's rhythms--of the sea, the seasons, organic growth and decay--are both metaphor and reality as the poet takes note of changes in her mate and in their relationship against a backdrop of snow, night, natural and man-made disasters, and "lint and cat fur" ("What the Dust Does").
The book is dedicated to "Leonard," "for we who are one body." Many of the poems concern a long, deep, relationship, now become turbulent because of change: "Thirty years . . . now this // after hours of bitter contention / because nothing's right / anymore" ("The Things I May Not Say"). Two people who have been so close now face the inevitable but they are not fading happily into the sunset: "I know you'd mother me / forever, and I you, /but here, at the end of everything / we know // even the kindest / words scrape against each other like seashells" ("What Holds Us Together").
Yet there are times of pleasure and tranquillity: "everything we do, even the egg / sandwiches we eat stick to the ribs / like caviar: / because you make me laugh" ("Old Hands"). "For last night, in your faded photograph album of a voice, / you sang us both to sleep" ("Alma de Casa"). And where there is deterioration, there is also devotion: "The shell around us is cracked / and you're in my arms, shaking. Over the crumbling / excavations beneath us. Where I won't, / I will not drop you" ("The Ground Beneath Us"). "Children are coming to grief, / cars burning in the streets. / In the brightest light of all, / I would like to catch him when he falls" ("The Brightest Light").
Sometime in the 1970s, the historian Lou is sent by her Institute to research the life of a nineteenth-century colonel on the island he once owned in the middle of a wide river in northern Ontario. A magnificent house remains with a shack behind where a huge male bear is chained.
At first Lou is afraid of the bear, but gradually she feels sorry for it, allows it into the house, and eventually into her bed. The experience leads her to reevaluate her life, her friendships, and her loves. The summer passes and a wistful Lou returns to the city, and the indifferent bear, to his captivity.
Summary:In the title story of this collection, "Survival Rates," a husband's thyroid cancer appears to be a greater threat to his marriage than it does to his health. The young girl who survives an accident in "Jumping" ends up a casualty anyway. In "Howard Johnson's House," a plastic surgeon repairs a nine year old girl's nose after it is severely damaged by a dog bite. Even before the injury, however, the child's nose was hideous. When the surgeon gives her a cosmetically perfect nose, the girl's mother is not merely disappointed but outraged. Two girls must adapt to life after colon surgery in "Krista Had a Treble Clef Rose."
Death’s power to erode and silence human speech has catalyzed a rich and varied flood of writing, some of which is collected in this book. Each of its four sections is devoted to one of the ways in which we speak and write in the context of death: eulogies, letters, elegies, and epitaphs. Culled from a chronological range stretching roughly from Roman antiquity to the present, these texts represent the famous, the anonymous, and all manner of people in between: as subjects of praise, mourning, and remembrance; as writers of speeches, letters, and poems about the dead; and as recipients of condolence letters.
The title story, "In the Gloaming," recounts a mother's final weeks with her 33 year old son who is dying from AIDS. Janet realizes that "the enemy was part of Laird, and neither he nor she nor any of the doctors or experts or ministers could separate the two." (p. 29) He dies at home with his mother next to him.
"Home" depicts the struggle of an elderly woman in the early stages of Alzheimer's dementia who is being coerced by her family to live in a nursing home. She immediately understands that living there would essentially kill her.
In "Watch the Animals," Diana Frick is a wealthy animal lover who has no interest in human relationships. After being diagnosed with lung cancer, she refuses conventional treatment and continues to smoke cigarettes. Surrounded by her pets, she commits suicide by drug overdose but not before she has arranged new homes for all her animals.
In 1929, a Danish physician identifies a new strain of smallpox that is capable of infecting and killing even those individuals who have previously been vaccinated against the disease. Before this incurable plague reaches them, the citizens of Vaden, a prosperous town renowned for their fanatical love of children, unanimously agree to barricade the city from the rest of the world.
Only once during this time when Vaden has quarantined all of Denmark does the town make an exception. A traveling European circus is allowed into the city because the mayor cannot bring himself to refuse its sick children. Unbeknownst to the villagers, a dwarf clown who is the featured performer of the circus has just died from the virulent strain of smallpox, but not before introducing it to Vaden. A 12 year old member of the circus successfully impersonates the dead clown. One night, the imposter with his wooden flute leads the children out of Vaden through a gate in the wall.
Despite years of trying, Cara Glanzman and her husband, Richard Case, both thirty-four years old, are unable to have a child. In fact she is contemplating getting a divorce, and he has decided that he really doesn't want any children. Everything changes when Cara is raped and becomes pregnant by Derrick James Cooper, also known as the "Reservoir Rapist." Although Cara initially considers having an abortion, she decides to have the baby.
As the pregnancy progresses, Cara discovers herself even as her husband becomes lost and despondent. The couple is greatly aided by a delightful midwife named Dorothy Pendleton. When Cara's large, hairy son is born, Richard is present to assist Dorothy with the delivery. "Wolfman Junior," the son of a monster, seems to be accepted by both his mother and surrogate father.
When Ruth's unfaithful and unappreciative husband Bobbo calls her a she-devil, she decides to appropriate that identity with a vengeance and take a different spot in the power relations of the world. She wants revenge, power, money, and "to be loved and not love in return"(49). Specifically, Ruth wants to bring about the downfall of her husband's lover, Mary Fisher, a pretty, blonde romance novelist who lives in a tower by the sea and lacks for neither love nor money nor power.
Ruth commences her elaborate revenge by burning down her own home and dumping her surly children with Mary and Bobbo. She continues on a literally shape-shifting quest in which she changes identities; gains skill, power, and money; and explores and critiques key sites of power and powerlessness in contemporary society, including the church, the law, the geriatric institution, the family home, and (above all) the bedroom.
By the end of the novel, Ruth achieves all four of her goals in abundance. Her success, however, raises complex ethical questions, not only because she uses the same strategies of manipulation and cruelty of which she was a victim, but also because of the painful physical reconstruction of her body that is the tool of her victory.
Alois Burda loves money. He is a wealthy owner of a car dealership who has many acquaintances but no true friends. He has been married twice and has three children but is uninterested in his family. Prior to his sixtieth birthday, he experiences weight loss, abdominal pain, and night sweats. Burda is diagnosed with inoperable metastatic cancer of the pancreas.
He seems worried most about what to do with his property and money. Before entering the hospital, he hides his money in some old slippers until he can decide what to do with it. He is comforted by a young nurse, Vera, whose voice reminds him of his mother's. After he dies, Burda's wife discards her husband's belongings into a heap of rubbish, unaware of the fortune hidden in his slippers.