Showing 11 - 20 of 48 annotations tagged with the keyword "Incest"
Summary:The Breedlove family has moved from the rural south to urban Lorain, Ohio, and the displacement, in addition to grinding work conditions and poverty, contributes to the family's dysfunction. Told from the perspectives of the adolescent sisters, Claudia and Frieda MacTeer, Morrison's narrative weaves its way through the four seasons and traces the daughter's (Pecola Breedlove) descent into madness. Through flashback and temporal shifts, Morrison provides readers with the context and history behind the Breedloves' misery and Pecola's obsessive desire to have "the bluest eyes."
Fraser’s subtitle is accurate; this book tells about a middle-aged woman rediscovering her difficult past of incest from her father and abuse, as a child, from another man. She tells her life story of growing up in a working-class neighborhood in Hamilton, Ontario, Canada, going to university, marrying, and becoming a journalist. All the while, anger and rage fuel her, but it is only after surgery (for fibroids) and psychotherapy that she can recall the abuse and has it corroborated by others. Fraser understands that her personality split into three personae; she uses her dreams, her writing (including six novels), and her childhood drawings to understand what happened to her. Finally she is able to forgive her father (although after his death) and continue with her successful career as a writer.
As this highly original and provocative film once again demonstrates, John Sayles is not a traditional storyteller. Audiences are caught in the detective story focusing at one level on murders and abuses committed more than 20 years ago; but the filmmaker guides their attention to the survivors, the current and very ordinary folks inhabiting the small border town where secrets are closely kept.
Imagine a blank canvas on which seemingly unrelated splotches of paint appear; then imagine those splotches as members of various ethnic groups inhabiting Frontera on the U.S. side of the Rio Grande. First, we have custodial white men who hang around the local coffee shop or fish on previously-owned Indian land transformed recently, and with some controversy, into a lake by the construction of a dam. Then we have Mercedes Cruz (Miriam Colon), a successful business woman and council member who curiously shows little compassion for "wetbacks" and those relapsing into the Spanish language. Her daughter, Pilar (Elizabeth Peña), of whom she is a constant critic, is a school teacher and single mother of two teenagers, a figure whose importance will increase as the composition develops.
Also, there is Otis Payne (Ron Canada), the African-American owner of the town’s black bar, a refuge for that minority group; and there is his estranged son, a rigid and unyielding colonel at the nearby base. Finally and less developed, are the Indians whose land has been claimed by the town’s ruling forces.
As fragments from the past and present provide dimension and meaning, increasingly the disparate colors are transformed into a representational form with clear connecting lines. Shapes and textures gradually become familiar and palpable. Within the context of good and evil, narrative lines blur and thicken. With tantalizing flashbacks, past and present fuse, allowing puzzle pieces to fit together; then engaged audience members realize that the narrative threads have twisted to expose unimagined patterns of sacrifice and love.
This film, like Nair’s earlier films (Salaam Bombay!, Mississippi Masala) presents serious social issues for viewers to consider, but the story this time, is set in a happier context. As the title reveals, a wedding is central. Monsoon is added to account for two kinds of turbulence: the weather on the day of the wedding and discomforting family factors such as pedophilia, secret trysts, and class distinctions. For the Punjabi Verma family, it is Father of the Bride with the universal tension, stress, and chaos associated with such happy events, but also with distressing twists that are sorted out or washed away symbolically by the monsoon’s arrival.
As much about the abusive treatment of women, and the clash of traditional and contemporary mores as it is about the HIV/AIDS pandemic, this beautifully crafted novel tells the story of a nineteen-year-old Mosa (for mosadi--woman) who has already lost two brothers to AIDS. The reader is caught up in the mega-deaths and non-mention of the dreaded acronym, AIDS, as the story unfolds. At their brother’s gravesite Mosa’s one remaining living brother is halted as he shovels in the final loads of earth: "All around him were fresh graves . . . He looked at the not fresh, fresh graves, and noted the dates of birth. Young people who had died prematurely . . . He had known about their long illnesses, their deaths and their funerals." (p. 20)
The author is the first (and only) female judge of the High Court of Botswana and a human rights activist. She is internationally renowned for bringing about the Dow Case, which challenged Botswana nationality laws; she argued successfully for revisions allowing women to pass their nationality on to their children.
Summary:The young Beatrice Cenci (1577-1599) is kept with her stepmother, Lucretia, in the appalling isolation and darkness of a forbidding castle outside the Papal States by her cruel father, Francesco, whose enormous debts and misdeeds make him unable, as well as unwilling, to support his offspring. He wants to prevent Beatrice from marrying to avoid paying a dowry. She has suitors, among them a “smooth” prelate, but is unhappily resigned to her lot until her father rapes her.
Summary:The young and beautiful Beatrice Cenci (1577-1599) is kept with her stepmother, Lucretia, in appalling isolation and darkness in a forbidding castle by her cruel father, Francesco, whose enormous debts and misdeeds make him unable as well as unwilling to support his offspring. He wants to keep Beatrice from marrying to avoid paying a dowry.
This troubling narrative opens with, "They say you see your whole life pass in review the instant before you die. How would they know? If you die after the instant replay, you aren’t around to tell anyone anything" (120). The narrator, a newborn girl on her way down the garbage chute from the 10th floor of an apartment building, reflects on what might have been had she lived long enough to have experienced life.
The structure of the piece moves the reader from floors ten, nine, into the game of chance played with dice, to "The Floor of Facts." At this juncture, the newspaper account of the newborn dead in the trash is iterated in its cold truths. The narrator laments, "As grateful as I am to have my story made public you should be able to understand why I feel cheated, why the newspaper account is not enough, why I want my voice to be part of the record" (123). The narrator shifts gears and begins to explore what her life might have been had she lived beyond these few hours.
She enters a "Floor of Opinions," where her own beliefs must be voiced and for which there must be room on the "Floor of Facts." She speculates, based on the experiences of her socioeconomic--and possibly racial--situation, whether her death will serve any purpose. On the "Floor Of Wishes" she imagines things she would have likely loved, such as Christmas. From this point, the narrative, in quick and painful anecdotes, draws the reality of the powerlessness, the limitations of love, and the brutality suffered by those in the clutches of urban poverty. Then the narrator enters the garbage compactor at the bottom of the chute, inviting us all to join her "where the heart stops."
This mystery novel interweaves the stories of two Victorian households: the cheerless Sabbatarian residence of Zachary Thorpe and the lively, off-beat home of artist Valentine Blyth. Thorpe’s rebellious son Zack’s friendship with Blyth begins an interfamilial connection that Blyth unknowingly deepens when he adopts a deaf girl he finds in a country circus.
Blyth and his disabled wife Lavinia fear the living birth father of the girl they name Madonna will discover her existence and take her away. Their desire to hide Madonna is thwarted by a rough stranger, Mat Marksman, who seeks the man who impregnated and abandoned his sister--Madonna’s mother, who died soon after giving birth. Zachary Thorpe, Sr. is revealed as Madonna’s father, just in time to prevent a problematic romance between the half-siblings.
Summary:This documentary presents a pastiche of illness narratives, the stories of seven women (including the filmmaker and the associate producer) who have struggled with mental illness, including depression, bipolar disorder, and multiple personality disorder. Intercut with the interviews are reenactments of key events in the women? lives; vivid depictions of sometimes frightening, sometimes exhilarating mental states experienced by the women; films and still photographs from the womens' childhoods, and archival film footage. In the process of exploring their illnesses and recoveries, the women discuss experiences that hurt them (rape, misdiagnoses, racism) as well as those that helped them heal (creativity, caring, therapists, and spirituality).