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How cancer affects family
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Terry Tempest Williams writes a beautiful memoir bringing together the unnatural and natural world. Williams claims that cancer found in her family was caused by the atomic and radiation testing where she lived during the 1950s and 1960s, but she came to realize that once one is diagnosed with cancer, its course occurs naturally, and slowly deteriorates one’s body. Terry Tempest Williams describes how cancer affected everyone in her family by detailing how she and her family struggled through the time when her mother was diagnosed with ovarian cancer to the time after her death. She specifically describes this struggle by incorporating the birds that she studies near her hometown in Utah with the flooding of Great Salt Lake to her mother and other relatives’ journey with fighting cancer. In the first half of the book, Williams often times describes the birds that she studies at the Bird River Migratory Bird Refuge as a means to escape and suppress the hardships that she faces with her family. By the end of book, she learns that suppressing and escaping the cancer and disease that surrounds her family is not the answer, instead, she realizes that it is better to accept it, and learn how to cope with death and the changes it can bring. The relationship between the inescapability of life and death and the uncontrollable elements of nature deliberated in Terry Tempest William’s memoir Refuge make this a poetic, graceful, and telling book. Metaphor is an underlying element used in this memoir to depict the relationship between family and nature, and the profound understanding of oneself, through the sequence of life and death, and the rebirth that proceeds. Using metaphoric references, Williams explores the continual unpredictab... ... middle of paper ... ...hole life, and because of this connection, her perception of cancer changed, “It was at this moment that I realized the deceit I had been living under. Children growing up in the American Southwest drinking contaminated breasts of their mothers, my mother-members, years later, of the Clan of One-Breasted Women” (283). Through the use of narrative and metaphor, Terry Tempest Williams beautifully depicts her life story in a poetic memoir. She describes the daily struggles she faced with change in her family, while her mother battled with cancer that eventually led to her death. She also describes the fluctuating lake levels, and how they affected the birds that migrate in the area. Through her experiences with the birds she learns how to cope and accept her mother’s death. Eventually, she moves on with the birds and learns how to love and not be afraid of death.
It's about sunlight. It's about the special way that dawn spreads out on a river when you know you must cross the river and march into the mountains and do things you are afraid to do. It's about love and memory. It's about sorrow. It's about sisters who never write back and people who never listen.” -pg. 85
In David Malouf’s novella Fly Away Peter the devices of recurring symbols, motifs and changes in time are utilized to underpin the ideas surrounding the continuity of time, life, death, rebirth and innocence to experience. Various symbols of death, rebirth, renewal, birds and fate are used continuously to express the idea that time is continuous and that life goes on. The way the text ends shows how the narrative structure can convey the consequences of these key ideas in the ways and the reasons why the main characters die.
Edward Taylor’s Upon Wedlock, and Death of Children and Upon a Wasp Chilled with Cold are similar in their approach with the illustration of how beautiful and magnificent God’s creations are to humankind. However, each poem presents tragic misfortune, such as the death of his own children in Upon Wedlock, and Death of Children and the cold, enigmatic nature of human soul in Upon a Wasp Chilled with Cold. Taylor’s poems create an element of how cruel reality can be, as well as manifest an errant correlation between earthly life and spiritual salvation, which is how you react to the problems you face on earth determines the salvation that God has in store for you.
Since its first appearance in the 1886 collection A White Heron and Other Stories, the short story A White Heron has become the most favorite and often anthologized of Sarah Orne Jewett. Like most of this regionalist writer's works, A White Heron was inspired by the people and landscapes in rural New England, where, as a little girl, she often accompanied her doctor father on his visiting patients. The story is about a nine-year-old girl who falls in love with a bird hunter but does not tell him the white heron's place because her love of nature is much greater. In this story, the author presents a conflict between femininity and masculinity by juxtaposing Sylvia, who has a peaceful life in country, to a hunter from town, which implies her discontent with the modernization?s threat to the nature.
"We never discussed what kind of funeral you wanted," (18) said Kilgore Trout to his pet parakeet, and only friend. Kilgore was born in Bermuda. When he was young, he worked with his father trying to save the endangered Bermuda Erns. When an Ern would die, Kilgore had the gruesome task of measuring the dead birds wingspan. He seemed doomed from childhood. "The pessimism that overwhelmed him in later life very likely had its roots in the bittersweet mulch of rotting Erns" (31). This pessimism destroys every human relationship Kilgore Trout has. For this reason, Kilgore is a lonely middle-aged man expecting nothing more from his life than to die alone. The only way he outwardly expresses himself is through writing science fiction novels and short stories.
The belief in fate or free will shapes the way a person lives their life. In Kurt Vonnegut’s Cat’s Cradle and Chloe Benjamin’s The Immortalists, many incidents cause the characters to question their destinies. Through the psychoanalytical lens, the characters in both novels challenge their fate and free will in response to negative events that impact their lives. The characters reevaluate their belief systems as they experience loss, death, and change.
In the short story “Skipper”, Aldan Nowlan introduces the protagonist, Skipper. Skipper’s mother Ethel yearns for a better life for her and her son outside of their mining community. In the short story “As Birds Bring Forth the Sun”, Alistair MacLeod introduces a young dog named cù mòr glas. Cù mòr glas is saved by a family man who lives by the sea. Aldan Nowlan’s “Skipper” and Alistair Macleod’s “As Birds Bring Forth the Sun” appear to have little in common, but both stories show the same series of events that lead to Skipper and cù mòr glas inflicting unintentional pain on their loved ones.
In Amy Hempel’s Short Story “Going,” we take part in a journey with the narrator through loss, coping, memory, experience, and the duality of life. Throughout the story we see the narrator’s struggle through coping with the loss of his mother, and how he moves from a mixture of depression, denial, and anger, to a form of acceptance and revelation. The narrator has lost his mother to a fire three states away, and goes on a reckless journey through the desert, when he crashes his car and ends up hospitalized. Only his thoughts and the occasional nurse to keep him company. He then reaches a point of discovery and realizations that lead to a higher understanding of mortality, and all of the experiences that come with being alive.
During the process of growing up, we are taught to believe that life is relatively colorful and rich; however, if this view is right, how can we explain why literature illustrates the negative and painful feeling of life? Thus, sorrow is inescapable; as it increase one cannot hide it. From the moment we are born into the world, people suffer from different kinds of sorrow. Even though we believe there are so many happy things around us, these things are heartbreaking. The poems “Tips from My Father” by Carol Ann Davis, “Not Waving but Drowning” by Stevie Smith, and “The Fish” by Elizabeth Bishop convey the sorrow about growing up, about sorrowful pretending, and even about life itself.
The first words of the book convey a parrot that spoke “a language which nobody understood”, and Edna’s husband “had the privilege of quitting [the parrot] when [it] ceased to be entertaining” (11). In the same light, Edna speaks of and wishes for a life that nobody apprehends. Her husband also possesses the moral, objectifying liberty to quiet Edna when she did not provide leisure, as one can turn off a song once it grows into a tedious nuisance. A further exemplification comes about when Old Monsieur Farival, a man, “insisted upon having [a] bird. . . consigned to regions of darkness” due to its shrieking outside (42). As a repercussion, the parrot “offered no more interruption to the entertainment” (42). The recurrence of the parrot evolves Edna’s state of stagnance as a consequence of being put to a halt by others despite her endeavor of breaking free. Ultimately, as Edna edges out towards the water to her death, a bird is depicted with “a broken wing” and is “beating the air above, reeling, fluttering, circling disabled down, down to the water” (159). This recurrence parallels the beaten bird to a suffering Edna. She has “despondency [that] came upon her there in the wakeful night” that never alleviates (159). Dejection is put to action when Edna wanders out into the water, “the shore. . . far behind her” (159). Motif of birds articulates her suicide by its association with
In "The Red Wheelbarrow," Williams takes familiar images but rearranges them in a way that differently emphasizes their meanings through rhythm. He does this by breaking apart certain phrases which conventionally flow together in one's mind: "depends" is broken away from "upon," "wheel" is separated from "barrow," "rain" divided from "water," and "white" is disjoined from "chickens." By altering the rhythm through divergent arrangement of words upon the page, Williams creates a new context through which to view and absorb familiar images (Koch 50). This re-birth of the ability to newly engage old images structurally serves the significant poetic function (that the literal line about men dying miserably every day for lack of what is found in poetry does) to remind us of poetry's value in connecting us with reality. His shifting poetic structure forces the reader to engage his images freshly.
In describing the bird refuge before the flooding, Williams goes into great detail about the abundance of birds and vegetation that inhabited her paradise: “Avocets and black-necked stilts are knee deep in water alongside interstate 80. Flocks of California gulls stand on a disappearing beach…I inhale the salty air. It is like ocean, even the lake is steel-blue with whitecaps”(Williams 30). In a visit to the bird refuge with her grandmother, she describes the refuge as a place full of life, with countless birds among beautiful plants and wildlife. Indeed, the bird refuge was a sanctuary to her; there was something magical, she writes, about seeing the thousands of different birds in one place, a sight that kept her going back.
The theme of Time to Come presents the mystery of life after death and calls attention to how vulnerable it’s victims are. Whitman begins his poem with the strong metaphor “ O, Death! a black and pierceless pall” (1). This bold statement allows the reader quickly realize that the work will somehow be connected to death, but in an insightful manner. The alliteration of “pierceless pall” emphasizes death’s ruthless approach. Whitman then describes death as a “mystery of fate” that " No eye may see, no mind may grasp” (3-4). This points out that death lingers in the future, essentially waiting to seize lives and nobody can know when th...
Metaphors can help people relate to events and feelings that they have not experienced in their own time. However, Danticat manipulates Haitian parables to be metaphors that help people understand the pain and suffering Martine goes through. Along with helping one understand Martine’s pain, the parables also foreshadow her death, both mentally and
He'd sleep with almost anything and gets away with his notorious reputation, while his one-night-stands are not so lucky. You wonder if Wesley's past dates still feel they enjoyed themselves when he moves on. He's obviously enjoying himself and saves his most seductive speeches for the freshmen class. It seems odd to Bianca that she's one of the few in the school who hates him enough to tell him no. Bianca's thoughts: Wesley is "kind of hot. Maybe if you could put him on mute...and cut off his hands...maybe --- just maybe --- he'd be tolerable then." But privately, she's not so different from the others, confessing only to herself that he's gorgeous. But of course that sentiment is only physical. How great could he really