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Peggy Freydberg is proof positive that creativity has no age limit! Just when most people are winding way down, Peggy began writing a lifetime's worth of poems at age 90! Pulitzer Prize-winning author Geraldine Brooks describes Peggy's poetry as having a "stunning intensity and searing emotional impact." Edited by Laurie David, these poems will resonate with anyone who is trying to unravel life's questions about life, love, fear, aging, and loss. Peggy's beautiful poetry proves it's never too late to start writing and be discovered - even if you are 107 years old!
"I am determined not to let the fear of growing old deprive me of the happiness that has always come naturally to me", writes Margaret Howe Freydberg in Growing up In Old Age, a touching memoir of one woman's struggle to cope with nature's unyielding course of aging. It is her philosophies and daily reasoning that invoke the reader with courage. In the face of an ailing husband, knowing that death is soon to follow, she confronts her fear, and instead of burying herself in overprotectivness of her husband she concludes "I do not want to harm the last years of his life, and of mine, with what appears to be love, but is not". She unbears her soul through the solace of writing, which takes the reader on a daring, eye-opening journey. "I am not a finished old woman. I am an old woman growing up", concludes Freydberg.
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The "winter concert'' takes place at Boston Symphony Hall, where two old acquaintances meet accidentally. At first scarcely recognizing each other, Celeste and Cabe gradually recall a moment of mutual attraction many decades gone.
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The illness of Lewis, an antique dealer, causes his cousin, Syra, and his friends to reconsider their relationships
Thirty-five million Americans are living beyond the age of sixty-five, a twenty-five year increase in life expectancy since 1900. This longevity, once the gift of a few, has become the destiny of many. This time of life is not just about retiring; in fact many who retire return happily to some type of employment. It is a new stage of life filled with its own unique challenges and opportunities. Co-authors Jane Thayer and Peggy Thayer, a mother-daughter team of psychologists, have named this stage of life, 'elderescence.'
In this, her first book, scholar Demaree C. Peck assigns Willa Cather her rightful place in our literary history. Challenging the assumption that women writers must draw their inspiration from a lineage of female predecessors, Peck portrays Willa Cather as a woman who self-consciously set out to write within a male literary tradition that she identified as Emersonian. Peck explores the psychological underpinnings of Cather's aesthetics to show that her theory of stylistic economy and simplicity was motivated by a desire to reorganize the elements of the artistic stage exclusively around her own romantic ego - that "inexplicable presence of the thing not named". Although Cather's protagonists...