Showing 101 - 110 of 171 annotations tagged with the keyword "Lesbian/Gay/Bisexual/Transgender Issues"
In this memoir the poet David Ray describes his troubled childhood and adolescence. Born into a poverty-stricken Oklahoma family, David and his sister lived in a succession of foster homes, after his abusive father walked out and his mother, a needy and often preoccupied woman, found it difficult to care for them. As an adolescent, David was sent to live in Arizona with John Warner, a war veteran who became his "guardian."
From the beginning, Warner sexually abused the troubled adolescent, who spent several years attempting, ineffectually, to escape from his abuser. After graduating from high school in Tucson, Ray accepted a scholarship to the University of Chicago, much against the wishes of his mother, who appeared occasionally in the picture, as well as those of Warner. In Chicago Ray finally freed himself from the abusive pattern.
The memoir provides a heartrending portrait of a succession of dysfunctional relationships, in most of which Ray, or his sister Ellen, emerge as victims or scapegoats. One of these is an intense experience with a sadistic writing instructor named Lowney Handy, who ran a writers’ colony in Illinois, and who may (or may not) have tried to murder David Ray. The book ends with a tension-filled reunion in 1966 between Ray and his biological father, after the young man had successfully completed graduate school and begun his career as a poet and teacher. The old man was just as hurtful as ever, and, reflecting on that last visit and his relationship with his father, Ray recalls some lines from Rilke: it was "so cloudy that I cannot understand / this figure as it fades into the background."
The Canadian narrator, Marie, is in a Paris archive, reading and translating excerpts from the diary of the Jewish mother of Marcel Proust. The entries cover the period from 1890 to 1905. Mme. Proust and her physician husband make excuses for their son's lax behavior, and they worry over his chronic asthma, his social agenda, his apparent lack of interest in women, and his risky future as a writer. Like the entire country, the Proust family divides over the anti-Semitic Dreyfus affair. Later, Mme. Proust writes of her own illness with cancer.
Nearly half a century later, young Sophie Bensimon is sent to safety in Canada from France by her Jewish parents who were never heard from again. In reaction to this loss, Sophie walls herself from emotional expression. Her childless, adoptive parents, the Plots, have difficulty understanding her return to France to search for evidence of her birth parents' demise. She too must cope with archives, papers, and bureaucracy, but she discovers some details of their fate at Auschwitz. She marries a doctor, keeps a kosher kitchen, and worries over every minor event in the life of her son, Max.
As Marie struggles against a pressing deadline to research and translate without reinterpretation, she is aware that her choices will inevitably skew her findings. With this work, she imposes herself, her tastes and her needs on another woman's past. And she remembers her passionate love for Max whose genuine fondness for her finds no sexual expression because he, like Marcel Proust, prefers men.
James Norton travels from Boston to Paris at his domineering mother's urging to bring home his fragile sister, Ellie, and their journalist brother, Rafael. He discovers Rafael devastated by the death of his Jewish lover, Olympe. Suicide, accident, or murder? Ellie is confined to a wheelchair owing to an unexplained paralysis. James is drawn into finding solutions to both problems and his investigations lead him to seedy brothels, the bureau of a hypnotist, the morgue of aspiring neurologists, and the wards of la Salpetrière, the famous neuropsychiatric hospital for women. The autopsy reveals that Olympe had been pregnant and the questions about her death multiply. The exoneration and return to France of Dreyfus plays as a backdrop.
Set in the 1950s Eisenhower era, this film creates an enlarged snapshot of a model suburban household in Connecticut as well as a companion negative of two suppressed social issues lurking beneath the painfully smooth surface. In his effort to portray dominant values, as well as the melodramatic look and feel of the period, Director Hayes appropriates visual effects and music associated with fifties films by Douglas Sirk such as "All That Heaven Allows" with Rock Hudson and Jane Wyman. Colors are too vivid; music heavily underlines emotional elements; and stylistically designed sets reflect superficial ideals. Too perfect.
Moving from the margins and into the center two disruptive shadows gradually emerge, one dealing with race, the other with homosexuality. In the years preceding racial protests and riots and in a time when few could imagine public conversation about sexual orientations, use of condoms, or AIDS, the story reveals unspeakable abuses, intolerances, and injustices that have subsequently been addressed but not resolved.
Summary:George, a strong introverted African-American man and Guilio, a delicate and flighty Italian man, have been lovers for many decades. Guilio's deteriorating heart condition strains their relationship. Guilio is haunted by childhood death fantasies and George becomes frustrated trying to help him to deal with his illness and his fears. In the end, however, George is comforted by Guilio, who has sensed his pain and grief over being the surviving partner.
This film tells the story of Alfred Kinsey (Liam Neeson), the scientist who famously changed his focus in mid-career from the study of gall wasps to the study of human sexuality and through his publications on male and female sexuality (1948, 1953) revolutionized the way we think and talk about sex. Kinsey entered adult life with the classic Boy Scout's view of sex that it was best not to think about it. (He collected a million gall wasps instead.) But under the influence of one of his students, Clara McMillen (Laura Linney), who later became his wife, and listening to the questions some students were asking about sex, he decided to teach a course at Indiana University on human sexuality. "Sexual morality needs to be reformed," he proclaims, and "science will show the way."
He begins doing statistical research on individual sexual behavior, training his interviewers to be open and neutral as they encounter a very wide variety of behaviors. He also encourages them to experiment sexually among themselves, and later even to participate in sexual encounters filmed for research purposes. Naturally, not everyone accepts this readily, and there are problems between Alfred and Clara, among the research assistants, and eventually between the whole project and Indiana University and the Rockefeller Foundation.
Rockefeller withdraws its support, complaining that Kinsey is preaching in public, and Clara tearfully complains that some social restraints are needed to keep people from hurting each other. The assistants struggle with the ties between sex, which is part of the experiment, and love, which is not. Kinsey continues striving, but with much reduced means. The film ends with video clips of interview subjects speaking strongly about the benefits that Kinsey's revolution has brought to them, one woman concluding: "You saved my life, sir!"
Summary:A one-person performance of thirteen characters during a single night on a hospice unit. Portrayed are patients, family members and professional caregivers. With minimal lighting and few props the actor/writer, who has been a hospice volunteer for many years, is able to capture in words and action the poignancy and humor of caring for the dying.
Note that this annotation contains spoilers. The sequel to A Million Little Pieces (see this database), Frey's follow-up memoir begins with James serving time in an Ohio prison for crimes he had committed while an addict. On his release, he goes to Chicago where he plans to reunite with his girlfriend, Lilly, and start a new life. As soon as he arrives at the halfway house where she was living, he discovers that she had committed suicide the night before. Shattered again, he tries to establish himself in Chicago without relapsing (with notable bravado: working as a bouncer in various bars).
His friend and "father" Leonard, a mobster who unofficially adopted him during their stint in rehab together, as chronicled in A Million Little Pieces, tries to help him get on his feet financially. After a period as a runner for the mob, James decides to move to Los Angeles to become a writer, with some success. Leonard remains a benevolent father-figure and as their friendships develops, the larger-than-life Leonard and his mob henchman meet James's friends, his family, his girlfriends, even his girlfriends' families--until Leonard disappears. James eventually locates Leonard, and discovers that Leonard is gay, has AIDS, and the two of them spend Leonard's last few days together.
Adolph Myers (aka Wing Biddlebaum) is an aging former schoolmaster who is noted in his Ohio town for the incessant activity of his nervous hands. For twenty years Wing has isolated himself from nearly everyone except for young George, whom he wishes to educate about life much as Socrates had shared his experience with the young men at his feet. In a moment of inspiration, the old man laid his hands upon the boy's shoulders. Suddenly he turned and hurried away, saying that he could no longer talk with his friend.
The story then moves into Wing's past to explain the events of his young days as Adolph, the school master in Pennsylvania. Myers was driven from his school and home by a bevy of men who accused him of perverted behavior towards the pupils whose shoulders he stroked and hair he touched in his effort to carry a dream into the boys' young minds. Thus ended the teacher's career and developed his lifelong attempt to still his nervous hands.
A chronicle of the author's perceptions, thoughts, memories, and personal relationships during the months after he was diagnosed as having AIDS. Brodkey's mind and prose are as sharp as a knife's edge. Beginning with the desperate struggle for breath that signaled pneumonia and, retrospectively, "how my life ended. And my dying began," continuing with the reactions and decisions of himself and his wife, the first half of the essay spins out an observant, introspective, cerebral, even amusing account of his particular experience.
But AIDS is often a disease associated with more emotional baggage than other fatal illnesses, and in Brodkey's case we learn that he traces both his dying and his homosexual experiences to "the major drama of [his] adolescence", daily sexual abuse by his adoptive father, with the implied knowledge and acquiescence of his mother. Writes Brodkey, "I experimented with homosexuality to break my pride, to open myself to the story." "Now I will die disfigured and in pain."