Showing 101 - 110 of 143 annotations tagged with the keyword "Domestic Violence"
The dog Kashtanka belongs to a drunken carpenter who takes her out one day, but on the way home loses her in the confusion of a military parade. The story is told by an omniscient narrator who privileges Kashtanka's point of view, so we follow the dog's subsequent adventures largely from her eyes.
After spending a frightening night in the street, Kashtanka is rescued by a kind man who feeds her and takes her into his home, which turns out to be a strange menagerie. The rescuer happens to run a traveling animal show, in which the star performers are a goose named Ivan Ivanitch and a cat by the name of Fyodor Timofeyitch. Kashtanka's new master renames her "Auntie" and sets about training her to perform in his act.
"Auntie" thoroughly enjoys her new surroundings. Her master is kind, there is plenty of food and love; and "Auntie" gets along well with the other animals. However, one day the carpenter and his son attend the show and see "Auntie" performing. They instantly recognize her and call out, "Kashtanka!" Kashtanka drops her "Auntie" persona and follows them home, as the pleasures of her interlude with her new master rapidly fade from memory.
In a village of Reybuzh lives an elderly tyrant who has two sons, one of whom works in a factory in the city, while his ailing wife lives in the village with her in-laws. The other son, a disabled alcoholic, has remained at home; his wife is "a handsome young woman, smart and buxom." The two wives are essentially no more than servants in their father-in-law's house. One day a traveler stops overnight in the village. Before going to bed, he relates the sad tale of Kuzka, his adopted son. The boy's mother was beaten by her husband. She subsequently poisoned him and, after being convicted of murder, died in prison.
Later that night, one of the young wives (Varvara) returns home from a toss in the hay with the priest's son. The other (Sofya) accosts her, and they discuss the traveler's story as they ruminate on their own terrible lives. Varvara suggests that they could poison her drunken husband and their father-in-law. Sofya is tempted, but frightened of being caught, and of God's punishment. The next morning the traveler settles his account, and he and the young boy leave.
When Gerald is three, his mother, a drug addict, leaves him alone one time too often and he accidentally sets the apartment on fire. His mother is imprisoned for negligence, he goes to the hospital, and thereafter lives with "Aunt Queen," a great-aunt who exercises considerable authority from her wheelchair, and gives him all the love his mother hasn't.
When he is 9, however, his mother returns with a new sister and a man who claims to be the sister's father. They want to take him "home"; Gerald wants to stay with Aunt Queen. The matter is settled unhappily when Aunt Queen dies of a heart attack.
Gerald soon learns to despise his stepfather for his violence and, eventually, for the abuse of his half sister, which she hides out of fear until she's driven to confess it to Gerald in hope of his protection. Their mother remains in denial about that problem as well as her own and her husband's addictions to alcohol and drugs.
Caring for his sister, however, keeps love in Gerald's life. In defending her one last time, the apartment catches fire and his stepfather is killed. As he, his sister, and his mother ride away in the ambulance, a flicker of hope survives in the darkness for another new chapter in family life, this time without violence.
This long-lined poem is an eloquent and angry diatribe directed toward the god who wasn't there, a god who, if he had been present to them, would have saved the poet's father and his family from another god who DID appear in their lives, the god of amphetamine.
The god of amphetamine is "the god of wrecked / lives, and it's only he who can explain how my doctor father, / with a gift of healing strangers and patients alike, left so many / intimate dead in his wake." He is the god of diet pills, of the "rampant mind," and of "tiny, manic orderings in the midst of chaos." He is also the god of terrible and destructive scenes in the poet's family, because, in fact, the poet's father was the high priest of this god, "preaching its gospel, lifting it like a host and / intoning . . . Put out your tongue and receive it." [37 lines]
Tim Metcalfe is an Australian general practitioner who gave up medical practice to become a full-time poet and writer. A statement on the back cover summarizes the process in relation to this collection of 38 poems: " ’Cut to the Word’ is a moving account of one man’s transition from doctor to poet." He begins with the customary initiation: "We were introduced, respectfully, / to the volunteer dead . . . " (p. 13) He discovers the limitations and uncertainties of his new profession: "In tense moments / I wish my stethoscope / was all they want it to be." (p. 18) And the omnivorous demands of medicine: "I come home from work / and there it is: the family / the oldest crying / at the youngest crying / at her mother’s anger / at her crying . . . " (p. 21)
Metcalfe carries the reader through a series of short, incisive poems describing the doctor’s day-to-day work ("Morning Session, " pp. 47-50), as well as through a number of disturbing poems about the world of mental illness, but the book’s climax--so to speak--arrives with "The Doctor’s Complaint, " in which the physician heals herself "by laying down her stethoscope / and walking right out / of that in-patient clinic." At the end the poet writes, "Like a patient I have learned silence . . . Fine steel scissors in hand, / I cut to the word." (p. 63)
This is a memoir of the author's troubled teen years. It begins in 1955 with Toby and his divorced mother driving west from Florida, running from her abusive boyfriend and with the cockeyed scheme of striking it rich in the Utah uranium fields. When that doesn't work out, they go on to the West Coast, where the mother moves around in search of work and fends off that boyfriend and a number of other undesirable suitors. Tragically, she finally marries Dwight, a controlling and abusive man who makes both her and Toby miserable.
Much of the memoir deals with Toby's desperate and often destructive attempts to survive under Dwight's reign of terror. Toby neglects his schoolwork and runs with some bad characters, and toward the end of the book he carries off an astonishing series of falsifications that leads to his being accepted for admission at a prestigious prep school. He doesn't last, and he winds up enlisting in the army, where he strangely feels "a sense of relief and homecoming."
The narrator of this historical novel, Anna Frith, works as a servant in the household of the local minister. The story recounts the horrific events in a plague-ridden village of 17th-century England. Anna, having lost her young husband in a mining accident, loses both her sons to the plague, as well as a boarder in her household who seems to have been the first case in the village.
After these losses, she stays her grief by tending the sick in many families. Particularly after the village works out terms of quarantine with the earl, no help but food and supplies comes in from outside. She learns much from the local herbalists, two midwives whose work she carries on after their violent deaths. In this work she develops a close partnership with the pastor's wife.
The story takes us through the whole trajectory of loss, accusations, spiritual struggle, shared grief, creative adaptations, and eventually emergence from sickness and quarantine. Anna's own journey takes some surprising turns as her confidence and clarity about her own mission grow and deepen.
This film was inspired by the true story of mathematician John Forbes Nash, Jr., who was one of three Nobelists celebrated in 1994 for their work in game theory. The film is driven by the agonizing conflict between Nash’s mathematical brilliance and the paranoid schizophrenia which almost destroys both his career and his marriage to Alicia Larde (Jennifer Connelly). The film shows Nash (Russell Crowe) as obsessed and, in schizophrenic episodes, delusional and occasionally violent. He undergoes 1950s insulin shots and later is on and off pills that seem to take away his brilliance along with his schizophrenia.
Late in the film he is off medication and says, in effect, that he has decided not to be deluded by delusions. The film ends with a triumphant series of scenes around the Nobel Prize, including the tribute of his colleagues at Princeton’s Institute for Advanced Study and Nash’s emotional Nobel acceptance speech at Stockholm expressing his gratitude to his wife for standing by him.
The story begins in London as Lilia, the young widow of Charles Herriton departs for an extended tour of Italy, taking with her a companion (Caroline Abbott), who is supposed to keep her our of trouble. Lilia leaves her 8-year-old daughter Irma home with the Herritons. The Herritons are a snobbish upper middle class family ruled by an iron-willed matriarch, who has never approved of her daughter-in-law's unassuming and spontaneous nature.
The trouble begins when word arrives from the small town of Monteriano that Lilia has gotten engaged to an Italian man. Mrs. Herriton sends her son Philip to buy off the "wretched Italian" and bring Lilia home. But he arrives too late. The 32-year-old Lilia has already married Gino Carella, who is the unemployed son of a dentist and a decade younger than she is. Gino is charming and seems guileless, although he has no intention of adopting an English attitude toward marriage. Indeed, he has married Lilia for her money and expects her to become a proper Italian wife.
Later, Lilia dies in childbirth, but the baby survives. At first the Herritons intend to sever contact and not acknowledge the child. However, nudged by Miss Abbott, the unsuccessful chaperone, they decide to "save" the child from becoming an Italian. Once again, Philip goes to Italy to buy off Gino and bring the boy to England. Once again, he fails.
But this time, his aggressive sister Harriet intervenes; when all else fails, she steals the baby. Unfortunately, a mishap occurs, and the baby dies. Meanwhile, Philip has fallen in love with Miss Abbott who, in turn, has fallen for the recently remarried Gino. In the end it looks like Phillip and Miss Abbott will become "just good friends."
This novel purports to be the story of Ned Kelly, the most famous of all Australian outlaws, as told in his own words. We learn that after Ned’s capture in the shoot-out at Glenrowan on June 28th, 1880, "thirteen parcels of stained and dog-eared papers, every one of them in Ned Kelly’s distinctive hand" (p. 4), were discovered among his things. These parcels turned out to be a memoir, addressed to the infant daughter whom he was never to see because his wife fled to San Francisco.
Ned was the son of poor Irish immigrants who farmed a "selection" (i.e. homestead) in the northern part of the colony of Victoria. After his father died, in order to help support her children, Ned’s mother took up with a series of dubious men, including an outlaw named Harry Power, who became the boy’s manipulative mentor. The memoir presents Ned as a goodhearted, loyal, and basically honest young man who came to blows with the law partly as a result of his bad companions, and partly through the intrinsic malice of the police.
Along with his brothers and two friends, he reluctantly becomes a bank robber, commits a few incidental murders, and ends up as a popular hero whose final capture has become part of Australian legend. The memoir shows us that the 26-year-old Ned could have escaped to America with his wife, but chose to remain in Victoria because he hoped somehow to free his mother, who was serving a jail sentence in Melbourne. The memoir also describes the origin of the famous iron armor that Ned was wearing when he was captured.