Showing 101 - 110 of 272 annotations tagged with the keyword "Mother-Son Relationship"
Manuela (Cecilia Roth) a nurse who works in a transplantation unit, witnesses the accidental death of her romantic son, Esteban, as he chases a car bearing the famous actress, Huma Roja (Marisa Paredes), from whom he wants an autograph. Esteban had longed to know about his absentee father, but his mother had always refused to tell him. His heart is transplanted, and Manuela is shattered by grief, leaves her work, and sets out to recover her past.
Obsessed with her son’s obsessions, Manuela trails the famous actress, Huma, who gives her a job. She finds old friends in the underworld, and a beautiful nun, Rosa (Penélope Cruz), who works with the poor and plans to go abroad. Soon it emerges that Esteban’s father is "Nina," a transvestite prostitute, and that Rosa is not only pregnant by him/her, she has also contracted AIDS.
Rosa’s austere mother was unhappy about her decision to become a religious, but she is even more horrified by her daughter’s pregnancy and illness. Initially reluctant, Manuela nurses Rosa and after her death, she adopts the infant son who is of course named Esteban.
In a future society in which biological reproduction is restricted and humanoid robots ("Mechas") are routinely manufactured to supplement the economic and social needs of humans ("Orgas"), Dr. Hobby (William Hurt) creates a prototype child Mecha, David (Haley Joel Osment), who has "neuronal feedback," the ability to love, and "an inner world of metaphor, self-motivated reasoning," imagination, and dreams. David is given to Henry and Monica, a couple whose biological child Martin is incurably ill and cryopreserved, awaiting a future cure.
More specifically, David is created out of Hobby's own loss and given to aid Monica's mourning for Martin, whom she has been unable to "let go" of as dead. It is thus Monica (Frances O'Connor) who must make the decision to perform the "imprint protocol" that will make David love her. After she stops resisting the desire to love a child (of any kind) again and implements the protocol, Martin is unexpectedly cured and comes home.
The ensuing turmoil sends David, accompanied by a robot Teddy bear, out into a nightmare world of adult Mechas, comprised of both Rouge City, where functioning Mechas like Gigolo Joe (Jude Law) do their sex worker jobs and also the fugitive realm where unregistered, discarded Mechas try to find the spare parts they need to rebuild themselves and elude trappers who take them to reactionary "Flesh Fairs" where they are publicly destroyed as an expression of rage against artificial technologies.
Joe and David, both set up and betrayed by humans jealous of their superiority at performing human functions, join together on a quest to make David "real" and return him to Monica. The quest takes them to a partly submerged Manhattan and sends David and Teddy two thousand years into the future to resolve the dystopic narrative.
Set in Sweden in the late 1950’s, around the time of Ingemar Johansson’s world heavyweight boxing championship, "My Life as a Dog" tells the involving story of a precocious boy, Ingemar (Anton Glanzelius), who gets into trouble, entertains his mother (Anki Lidén) with his antics and plays with his dog, Sickan. As his mother becomes increasingly sick with a terminal illness (almost certainly tuberculosis), he is sent to live with relations for the summer in a small rural community. After an eventful vacation, he returns to his mother but she soon dies. He stays with family friends who, unable to cope with him or his behavior, send him back to his relations, where he is again welcomed, but somewhat less enthusiastically.
Throughout this, Ingemar maintains his sense of perspective by comparing his own situation to the tragedies he reads in the newspaper. In particular, he returns to the story of Laika, the Russian dog launched into space. Laika was sent into orbit in a capsule with no expectation that she would return, and it was believed that she eventually starved to death or ran out of oxygen (although recent reports, decades after Laika’s death and several years after the film was made, have acknowledged that she probably died within a few hours of launching from overheating and stress).
Squandering his wealth in an attempt to gain the affection of a beautiful woman, Federigo degli Alberighi is left with only a small farm and a magnificent falcon. Federigo loves Monna Giovanna, a young woman of nobility who is already married and has a son. After her wealthy husband dies, Monna and her son travel to their country estate near the farm where Federigo lives. The boy becomes friends with him and covets the prized falcon.
Soon the boy is sick. He has one request: "Mother, if you can arrange for me to have Federigo's falcon, I think I would get well quickly." (p. 427) Monna is well aware of Federigo's love for her, but she also realizes how attached the man is to the falcon. Monna makes an unannounced visit to Federigo's farm. Before she declares the purpose of her call, he decides to honor Monna with a meal.
Unfortunately, Federigo has nothing to serve her. He catches a glimpse of his falcon on its perch. He breaks its neck and has it roasted on a spit. Monna eats the bird unaware that it is the animal she has come to request for her son. After dining, she asks Federigo for his falcon. All he can do is weep. He then reveals that he sacrificed the creature to provide a meal worthy of Monna. A few days later, her son dies. After a period of sorrow and resentment, she marries Federigo.
Summary:Part of a series, "Letters to a Young . . . [fill in the career]," this collection of essays by pediatrician-author Perri Klass is addressed to her son Orlando during the recent period when he was applying to medical school. The essays follow a chronological sequence, beginning with the decision to apply to medical school, the first two years of medical school, learning how to examine and talk to patients, residency training, physicians as patients, making mistakes, grappling with the most fundamental human issues in medicine, and the mingling of professional work and life.
Summary:Nate, 14, comes home to his family's Montana farm one day to see police cars. His father, whose head is bloodied from a gunshot wound, is taken away in an ambulance. He and his 7-year-old sister are whisked into the house and cared for by an aunt until their mother, shocked and withdrawn, returns home. In the weeks following Nate finds it hard to get any adults to level with him about what happened, though he overhears conversations that make it fairly clear it was a suicide attempt. The kids at school withdraw from him and his sister; parents in the area tell their children not to play with them, as they always suspected there was something strange about the family. Only one girl, herself something of an outcast because of her father's aggressive fundamentalist preaching, befriends him, and becomes his partner in a science project.
This memoir chronicles the pre-adolescent and adolescent years of the author, the son of an alcoholic, abusive mathematics professor father and a psychotic Anne Sexton-wannabe confessional poet mother. The only family member who does not abuse the boy in any way is estranged--an older brother with Asperger’s syndrome. Meanwhile, the amount of trauma to which young Burroughs is subjected boggles the mind. Just when one thinks it couldn’t get any worse, it does.
Burroughs, who loves bright, shiny, orderly things, also likes doctors--paragons of cleanliness, virtue and wealth. Unfortunately, his mother’s psychiatrist, Dr. Finch, described as a charismatic Santa Claus-look-alike, is unethical, bizarre and squalid. As Mrs. Burroughs becomes more and more dependent on Finch, she allows her son to be adopted into the crazy Finch household.
This family includes wife Agnes, who copes with her husband’s infidelity by sweeping madly; son Jeff, daughters Kate, Anne, Vickie, Hope and Natalie; grandson Poo; and adopted son, Neil Bookman, who is twenty years older than Burroughs and homosexual. When Burroughs is thirteen, and has told Bookman that he, too, is gay, Bookman forces the boy to have oral sex. They become lovers.
The Finches, meanwhile, exhibit their quirks and weird tendencies in multiple ways. "Bible-dipping" is popular to read the future, as is prophesying by examining Dr. Finch’s turds. A patient with agoraphobia, Joranne, lives in one of the rooms--in fact, she has not left the room in two years. Young Burroughs is allowed to smoke and drink. When Burroughs says he doesn’t want to return to school, Dr. Finch facilitates this desire by giving Burroughs alcohol and pills to fake a suicide gesture, then hospitalizes the boy.
Yet Burroughs manages to befriend a couple of the Finch daughters, and to survive his childhood. The book closes with his departure for New York City and with an epilogue outlining various people’s outcomes. Finch lost his license due to insurance fraud.
Summary:Jordy, 17, gay, abused by his parents, has taken refuge in a New York basement from where, one night, he witnesses the brutal gang rape of a young 18-year-old. After his shouted threats scare off the attackers, the girl slips through the window into what turn out to be shared quarters. The two begin to take care of each other; she insists on his getting treatment for head wounds at a public clinic (where care is distiinctly substandard) and he becomes guardian to this young woman whose history of abuse has left her in a curious state of social alienation and innocence about what is normal. The story becomes a kind of vision quest when, faced with "Chloe's" (a name she gives herself by way of starting over) inclination to put herself in harm's way, and to flirt with suicide, Jordy decides to prove to her that the world is more beautiful than it is threatening and ugly.
Summary:A French Canadian family gathers for Christmas around the ailing patriarch and his quiet wife. But it is dominated by anxiety over the father’s rigid Parkinson’s disease and a recent stroke that have robbed him of clear speech and movement.
Summary:It is 1915. Sasha, only daughter of a renowned English doctor, longs to be a nurse, as her brother, Thomas, longs to be a doctor. Their father is opposed to both objectives: he thinks Thomas should sign up to "do his bit" in the war effort like his older brother, Edgar, rather than go to medical school, and he doesn't think Sasha could handle the gore of wartime medicine. He is also concerned because on a few occasions, Sasha has let slip that she has accurate premonitions of people's deaths. The first of these came when she was five. She has learned since then not to speak of this "gift" to anyone in her family, for fear of losing credibility, but keeps with her a book of Greek myths, in which the story of Cassandra helps her to validate her sense of her own gift/curse.